SOMETHING OLD: ‘Two Princes’ – Spin Doctors

Oh come on, a classic from the 90s, covered and moderated over the years – there’s nothing like singing along the ‘Two Princes’ scat (do I attempt to type it?) ‘yyyyeeaaahahahaadobadipadobadoob....’ er, yeah, you get the idea.

An extremely uplifting song which I’m sure brings your own memories, mine would be listening to this on my Sony Walkman as my parents drove us down to our Cornish caravan. As soon as I hear that rolling drum intro into the memorable guitar riff, I’m there.
I’ll be honest I’ve never really thought about the words, what they mean etc, which is rare for me but in light of this it is a fine song however deep you want to get into it.

The Grammy Award nominated vocal no less by Chris Barron creates a perfectly formed pop song, with him wearing a Dappy hat in the video – no doubt years before Dappy was even in nappies. Reminisce your 90s with some crazy good guitar licks and perfect that scat for some old skool memories of better music years gone by.

From the album ‘Pocket Full Of Kryptonite’ (1991) / @SpinDoctorsBand

SOMETHING NEW: ‘Berlin Song’ – Ludovico Einaudi

So 2009 may not count as completely new, but still just about comes in my 2 year rule of being ‘new’. And this choice is allowed to break any restrictions I may have laid before.

Much like my mantra that folk shouldn’t remain strict with listening to one genre of music, this week I’m throwing out there this absolutely gorgeous piece of classical music by Italian composer Ludovico Einaudi. My love for this song originally stemmed from it being used in the brilliant This Is England ’86 series, so I guess watching the most recent series this week reminded me of this track.

Whether you’ve heard it before in the program, or its use in other films, if you can’t associate it with a particular scene then it almost compels you to write your own. Haunting, subtle and incredibly moving, you could even say at this time of year and with the weather we’re having it even suits so wonderfully down to that. 
The melody throughout is surprisingly uplifting despite the somewhat darker sounds of the chords and undertones. The reverb on the piano adds to this, especially with the higher, lighter notes. It’s not surprising Ludovico’s work has been used in films, TV and advertising campaigns, for an instrumental to evoke such emotion, I won’t lie, it could sell me anything.

And a word to the wise and the greater music fan, please don’t listen to this in those pesky earphones Apple provide you with. It’s worth the awe and audio lushness of a proper set of full headphones to appreciate that full effect of a song completely washing over you. Ooh, get me!

From the album ‘Nightbook’ (2009) / @LudovicoEinaudi

SOMETHING OLD: ‘In The Deep’ – Bird York

Probably mostly recognised from the Oscar winning film ‘Crash’, ‘In The Deep’ was in fact part of an album made many years before the release of the film.
Singer Kathleen Bird, performing under her stage name Bird York, has the most effortlessly beautiful voice. Almost whispering through the track, no emotion is lost as she retains every word within the ‘underwater’ production of what is a truly sublime song.

It’s the subtle additions, the keys on the piano sound like they’re barely being touched – much like Kathleen’s voice where it’s the very softness which turns out more powerful than any belted out note.

Lush and rich in colour and emotion, if you’ve seen the film you’ll appreciate its meaning and its worthiness for the Oscar nomination in song category. If you haven’t seen ‘Crash’, then I’m sure after listening you’ll appreciate ‘In The Deep’ for what it is, an exquisite piece of music.  

From the album ‘The Velvet Hour’ (2003) / @birdyork

SOMETHING NEW: ‘Pelican’ – The Maccabees

What promises to be the festival song of next summer (yes I know it’s ONLY December) but a song that instantly great which makes you think about jumping around in a field with strangers with no regard for spilling your cider, is the perfect pick-me-up for cold mornings.

Stabbing guitars get your feet tapping before the glorious harmonies mix into the chorus and really there’s no stopping you shaking everything else. Starting as one tempo and building into another, it’s not always clear where the track is going to go next – but that’s no bad thing.

There’s almost a hint of menace with the haunting layered vocals, until that guitar returns and it picks up the pace once more – bringing more than an appreciative grin to your face. The structure starts simplistic but brings us to a more than gratifying finish so you’re able to catch your breath.
Now just picture yourself amongst the masses listening to this one live....is it the summer yet?!

From the forthcoming album ‘Given To The Wild’ (2012) / @themaccabees

SOMETHING OLD: ‘How Come You Don’t Call Me’ – Alicia Keys

A cover of an old Prince b-side, in fact the b-side to his hit ‘1999’, Alicia Keys takes on the might of the little genius making it accessible for the new generation with a little help on production by The Neptunes.

As a massive fan of Ms Keys it would probably seem strange to pick a cover rather than one of her own tracks, but she puts a grand piano sized stamp on this one. The sass, soul, attitude and effortlessness of her vocal drips through the speakers. The music video showcases this one live too, which I was lucky enough to catch for myself at the smaller venue here in Plymouth before she got the worldwide fame we all know her for now. It blew me away.

Alicia has no need for the vocal gymnastics of some of her musical colleagues, if you sing a song with genuine emotion – in this case especially, singing someone else’s song to adjust it to your own situation, then the word ‘cover’ seems a dirty one.  

From the album ‘Songs In The Key Of A Minor’ (2001) / @aliciakeys

SOMETHING NEW: ‘Out In Bold’ – Giovanna

A haunting vocal and production seems fitting for a frosty Monday morning, simply gorgeous, Giovanna is completely different to anything else that’s out there at the moment. If there was only one comparison it would be to the equally sublime Lana Del Rey.

What sounds like a simplistic construction of a song, upon further listens (and believe me, you will want to listen over and over) the layers compliment each other with Eastern sounding drum rattles and dark harmonies – including a piano loop and rolling bass which suggest experience and years older than Giovanna more than likely is.

A fresh and exciting talent and polar opposite to the loud, dance, dubstep etc we find female artists associating themselves with in the chart at the moment. This sound is subtle yet intense, and with an EP due in early 2012, it sounds like the year to listen out for Giovanna Marshall.

From the forthcoming EP ‘Shaky Ground’ (2012) / www.myspace.com/giovannamarshall

SOMETHING OLD: ‘Monkey Wrench’ – Foo Fighters

So many songs I could easily pick from the Foo’s back catalogue to be a classic ‘something old’, they may yet to feature in the ‘something new’ category also – still making anthems some 15 years after the release of this one.

‘Monkey Wrench’ follows your instantly recognisable Foo recipe of driving guitar riffs (which you can try but fail to not air guitar along with), insane drums (actually played by Dave Grohl on this song not regular Taylor Hawkins), and Grohl’s shouting but still melodic and emotion powered vocals, make this not just a classic of theirs but surely also of modern day rock itself. Woah, get me.

I believe the song was written about Dave’s marriage breakdown, which despite the angry lyrics, the melody itself is pretty uplifting – to the point where you can’t help but jump if you’re lucky enough to catch them live when they do this track.  The anger does reprise particularly in the middle eight where there’s a pure shouty rant which ends with ‘I was always caged, but now I’m free’. The frustration but absolute release from this moment brings us effortlessly back to two more chorus’ and the perfect instant rock finish.

From the album ‘The Colour and the Shape’ (1997) / @foofighters

SOMETHING NEW: ‘First Of The Year (Equinox)’ – Skrillex

Before you listen to this track, you may want to tie down all precious items and move your Monday morning coffee away from the speakers because quite frankly the dub bass may well make you spontaneously combust. How about THAT for an intro to today's choice?

What starts off as a intriguing beat incorporating some superb vocal mixing and switching merely prepares you for when the beat drops. Building the anticipation, I personally absolutely love the mixing of electro with the sound of live drums – you know this is going somewhere very good indeed.
A dark sense of menacing filters through and then the dub sticks it to you, right between the eyes - best heard either obnoxiously loud over speakers or in your own personal euphoria of a decent seat of headphones.

Skrillex has become my jogging buddy, especially for hill runs, there’s not much more required for a blood pumping, adrenalin thrusting package of 4:22. The podcast set mix he did for Zane Lowe recently is a must.

From the EP ‘More Monsters and Sprites’ (2011) / @Skrillex

SOMETHING OLD: ‘Aerodynamic’ – Daft Punk

From one of my favourite dance acts, although this probably being not one of the more well known songs from the album – that being ‘One More Time’ or ‘Digital Love’, however this track gets a nod for the guitar riff throughout and most impressively the one halfway through.

Mixing the old with the new, the drum loop reminisces back to almost sounding like it’s from an 80s hip hop rhythm, Daft Punk expertly and seamlessly thread all these parts together to make one almighty tune. Almost to the point where you couldn’t ‘genre class’ the sound they create.  Impressive stuff and timeless in sound, despite being 10 years old.

If you never thought you’d be air-guitaring to a French house song then don your beret and dust off your Gibson.  ‘Laissez-rock!’

From the album ‘Discovery’ (2001) / @DaftPunkNews

SOMETHING NEW: ‘Not The Only Person’ – The Rumble Strips

So I wouldn’t classify this as a completely new song, being 2 years old but I’m opening up to the fact you may not have heard of the band before. Undoubtedly their biggest hit ‘Girls And Boys’ you would have heard in episodes of ‘The Inbetweeners’, the film ‘Run Fat Boy Run’ or most recently the Baileys adverts, but this track for me turns the simplistic into the epic – with a little help from Mark Ronson.

Lead singer Charlie Waller has an impressive range of vocal and the song itself is sung in humour based on an evening in London when muggers were foiled by his wife. Almost apologetic to the criminals he even offers to come back later so they can complete the mugging.
As in true Ronson style, although no horns in this section, it retains a 60s vibe in terms of guitars and drums, building to the massive chorus which truly showcases Charlie’s storytelling vocals. Think The Byrds in terms of instrumentals.

The pinnacle comes in the final chorus when the stabbing strings reach the dizzy heights of epic-ness – translated perfectly by the accompanying promo video. An epic in itself from the quirky Devonshire lads.

From the album ‘Welcome To The Walk Alone’ (2009) / @RumbleStripsUK

SOMETHING OLD: ‘You Make My Dreams Come True’ – Hall & Oates

I first heard this track in the film ‘500 Days Of Summer’, it came complete with a dance routine which wouldn’t look out of place in an old 50s musical – and equally, it’s the perfect pick me up aid to a Monday morning.

You can tick all the boxes of cheese, guilty pleasure, harmless singalong, hell there’s even an abundance of ‘oohs’ in there just to make the package complete. And if you check out the video, there’s a glorious mullet and moustache combo which I’m sure drove the ladies wild back in the 80s.

Established in the early 70s, Daryl Hall and John Oates are still going strong today, despite band changes of around 13 members, with mentions and appearances in sketch shows, movies and even being sampled by Kayne West – it’s clear everyone likes a good finger clicking dance when no-one’s watching.

From the album ‘Voices’ (1980) / www.hallandoates.com

SOMETHING NEW: ‘Time To Wander’ – Gypsy & The Cat

Starting with a drum beat which wouldn’t sound out of place at the start of a Muse track, the song then deviates in a completely different direction. Where Muse would go down the slightly darker route, Gypsy & The Cat take the fresh and uplifting road to electronic pop as opposed to electronic rock.

The group is made up of two DJs from Melbourne who, in their 80s synth and breezy chorus, take a leaf from the sounds of fellow Australian band Temper Trap in creating light and incredibly easy to listen to refreshing music.

The vocals and flicks of electronic chords give it that 80s sound which has made a bit of a comeback of recent, but the production itself retains it from going right back to that decade in keeping that sparkle and originality.
I’ve heard great things about the album so if it continues in this vein it will be definitely worth a listen, and as Kylie had them as her support act on the Australian leg of her recent Aphrodite Tour – we all know that no-one dares question Miss Minogue and her excellent judgement on new bands (see also Hurts) ;-)    

From the album ‘Gilgamesh’ (2010) / www.gyspyandthecat.com.au

SOMETHING OLD: ‘Brick’ – Ben Folds Five

A heart-breaking song about abortion, no political stance, just the raw emotions and the effects on a relationship. That may sound a bit hard-going for a Monday, not the usual upbeat number I go for, but in this case it’s a beautiful yet equally heart-wrenching song and still one of my favourites.

Not as literal as singing directly about the topic, however once you know what it’s about then the lyrics do feel that much deeper and it invites you to listen that much harder.
Lead singer Ben Folds has such a great voice which can adapt to the more light-hearted songs like ‘Rockin’ The Suburbs’ for example, to this, a much more personal song. Sadness with a hint of anger during the middle eight, not at the situation but at the frustration he clearly feels his girlfriend is going through.

The production is, as with all the best songs in my opinion, very simple - the continuing piano melody which really grabs the attention initially. An emotive, brave and honest pop song.

From the album ‘Whatever and Ever Amen’ (1997) / @BenFolds

SOMETHING NEW: ‘Ritual Union’ – Little Dragon

Swedish electronic band Little Dragon have been around for a number of years, but this track is an absolute beaut and needs to be heard and enjoyed if you don’t know of them already.

A sexy late night number you could equally listen to on a long drive into the night or getting ready to go out. Lead singer Yukimi Nagano encompasses such a laid back vibe, that normal spiel about music being able to take you away and forget your problems for 3 minutes never seemed truer than when listening to her voice.

Everything about the song is effortless, I can just about manage a shuffle or even a shoulder shimmy before I close my eyes and think of driving in the sun with the roof down, alternatively on a beach plenty of miles away and degrees hotter than where we currently are here on the border of November!

Melt, float, ‘Ritual Union’ keeps inviting you back for more, and you won’t regret it.

From the album ‘Ritual Origin’ (2011) / @LittleDragon

SOMETHING OLD: ‘I Wish’ – Skee-Lo

Ah come on, a classic in every sense of the word. I’m not ashamed to say I have, for the most part, been slightly inebriated with cheap spirits most times I’ve heard this song – making it all the more enjoyable trying to sing along to the chorus. But for the majority, everyone knows at least one line. If not, get your listening gear round this one.

Utilising the most funky of funky basslines in the sample of Bernard Wright’s ‘Spinnin’ and the brass note we instantly recognise when hearing ‘I Wish’, Skee-Lo tell us his tale of wishing he could be more like his crush’s boyfriend who was indeed taller and a baller.
In quite an opposite extreme to today’s hip hop when the majority is spent rapping about all the things they have and the glamorous lifestyles they live, here we relate to the real life situations of things we can’t have – a nod to unrequited love if you want to see it that way.

It screams summer time to me and up against the bling encrusted tracks of today, Skee-Lo ‘keeps it real’ in a song hard to believe is almost 16 years old. Download, enjoy, you’re welcome.

From the album ‘I Wish’ (1995) / @Skeelo_MusiK 

SOMETHING NEW: ‘Kissing Gates' – Crowns

Now you know by now I like to promote a bit of local produce, with the Westcountry scene looking particularly fruitful at current, here’s the exciting sound of Cornish band Crowns.
Self-styled punk-folk, debut single ‘Kissing Gates’ mixes just that – a jig with an edge sharper than freshly pressed cider (NB don’t worry that’s the only Cornish-based pun I’ll be using in this piece) a shanty for the modern day fisherman or in this case, more likely, the crowd surfer.

Sounding like nothing else out there at the moment, it seems most fitting that they’ve been added as the support act for The King Blues next month – an equally enjoyable band especially live, anyone attending these gigs is in for a double treat.
High energy with one of those irresistible hook and drum-beat combos, inject a bit of Cornish sunshine into the dreary October days drawing in.

Raise your glasses, kick your legs and look forward to the EP coming up in the New Year. Crowns hereby stand at the top of my ‘bands I want to see live’ list. In Cornish we’d say peidgy ry thebm mouy – please give me more! 

‘Kissing Gates’ the single is out on November 14 / @crownsband

SOMETHING OLD: ‘Forgiven’ – Alanis Morissette

My original ‘Jagged Little Pill’ CD just about plays, skipping on a few tracks due to the scratches where it has been played so much over the years. One of my favourite albums ever, makes this a hard choice to recommend just one of its tracks. But right now, it’s ‘Forgiven’ and brace yourself cos this one gets real deep.

Producer Glen Ballard, who has worked with such an impressively diverse catalogue of artists before and after working on ‘Jagged Little Pill’ (Katy Perry to The Corrs, No Doubt and Annie Lennox to yes, Curtis Stigers!) creates such a haunting sound to what is so obviously a fragile topic for Morissette.

Alanis’ vocals are incredibly menacing, if ever you wanted to hear someone sing with such pure (and in this case) almost venomous and raw emotion, this is such an example. The winding, twisting barbed wire of a bridge builds to the epic chorus where those famous powerful lungs kick in – right in your stomach.

And as for the middle eight...wow. I don’t think comparisons, clichés or descriptions could even do it justice. Just listen.

Alanis Morissette, how I miss you so.

From the album ‘Jagged Little Pill’ (1995) / @morissette

SOMETHING NEW: ‘By Your Hand’ – Los Campesinos!

With an 80s computer game melody loop which tempts you like a cheeky peek at a Super Mario cheat book, similarity you can’t help but delve into the wonders it then continues to bring.  Group sing-along, this band originally formed at Cardiff Uni, mix a combination of Arcade Fire and Vampire Weekend – this is a good thing.

A seven-piece band provides the chorus’ with enough of a vocal wall to encourage steering wheel finger tapping in this perfect driving song.
What seems to be a preferably forgettable memory from school/college, it tells the tale of perhaps unrequited love and how in a perfect moment it could only come together – until she vomits on his rental tux. I’d like to say we’ve all been there; my friend met her now husband by throwing up on his shoes, I kind of hoped it was just some strange Plymothian mating call. Los Campesinos prove me wrong.

Layers of speech and hand-claps greet the final chorus until the cheery loop returns to guide you to the end. A wondrous song which poses a great amount of anticipation for the November album release. 

From the forthcoming album ‘Hello Sadness’ (2011) / @loscampesinos

SOMETHING OLD: ‘Concrete Schoolyard’ – Jurassic 5

All this crazy sunny October weather has caught everyone off guard, particularly with clothing but for me also with music. For a few days at least, I’ve been getting the most out of the summertime tracks before they go into hibernation. ‘Concrete Schoolyard’ being one of them.

Featuring a number of samples from Ike Turner, Ramsey Lewis and Don Sebesky, you probably think you’ve heard bits of it before, but the raps are unique to the band and all that was great and good about them back in the day.

A lazy piano mixed with your more traditional hip hop beats basks this track in sunshine. If my Clio were in fact a Cadillac, I’d so be cruising with my arm hanging out  (as best I could even TRY to make that look good on me!) Each member puts their own spin on their rap section, moving the lyric round the bouncy beat to different rhythms and skips from offbeat to gaps there inbetween with pure finesse.

And who’s going to deny a song with a kazoo instrumental? Gen-i-us.

From the album 'Jurassic 5' (1998) / www.interscope.com/jurassic5

SOMETHING NEW: ‘Beloved’ – April Smith & The Great Picture Show

With a voice sounding like it’s from the 1950s, April Smith’s classic/vintage vocals are pure and sweet and make a pleasant alternative to the ‘powerhouse’ female vocalists popular at the moment, and the note-defying gymnastics that often come with them.

An incredibly sad song when you stop and listen to the lyrics, again her slightly fragile tone conveys this beautifully. Losing a lover, either at the end of a relationship or at the definite end, heart-breaking. ‘This thing that beats is the one thing that keeps us apart’.

Building slowly, it reaches its peak in the classic way in the middle eight, when the voice becomes a mountain. Not too overpowering, the tone instantly returns to the simple and innocent, as if not to get ahead of herself.

In a unique venture, the album this song is taken from was in fact funded by fans of the band via Kickstarter. If such a way of doing things present more sublime songs and artists like this, then long may it continue and prosper because ‘Beloved’ is absolutely gorgeous in every way.

From the album ‘Songs For A Sinking Ship’ (2010) / www.aprilsmithmusic.com

SOMETHING OLD: ‘Creep’– TLC

I have a habit of randomly shouting TUNE whenever I hear this, an ultimate r’n’b and 90s classic, if this isn’t on your iPod then take this opportunity to go get it.

TLC as a group oozed attitude and talent with each member bringing something to the songwriting process and their memorable performances. T-Boz’s deep vocals instantly recognisable cover this track in sass along with its smooth production incorporating strings and a trumpet loop; you can almost feel the warm summer sun on your face.
A sample from Slick Rick’s ‘Hey Young World’ gives the drumbeat but it’s the harmonies in the chorus and posture from TLC which make it their own.

Despite the controversy that often followed them, TLC were one of the great and influential girlbands. Although this track doesn’t feature one of the consistently awesome raps from the late Lisa ‘Left Eye’ Lopes, ‘Creep’ remains one of the defining tracks not only of their career but also the r’n’b genre.

From the album ‘CrazySexyCool’ (1994) / @officialchilli @BozBizz

SOMETHING NEW: ‘Colours’ (Captain Cut Remix) – GROUPLOVE

Flashes of Arcade Fire, but a little more fun – think of Arcade Fire...wearing red noses. See? Fun. Little bit scary, but fun. Grouplove are an American band made of 4 blokes and a lady, making their vocals pretty unique in the male dominated current climate of rock and its many forms.

A stomping remix by Captain Cut maintains the caveman “huh’s” and “ha’s” and the enjoyable shouty vocals, making this a standout track which despite probably not needing a remix, wallows in the extra sparkle this one gives the original song. 
The original is more organic-sounding rock, borderline folk even, but for me the remix does the real justice. Electronic reverb in abundance, with effects on voice and the original chords provide an enjoyable and uplifting track which maintains the original’s verses and chorus’. None of this just taking and repeating the chorus first line, as is sometimes classed as somewhat lazy remixing.

Most bizarrely but equally wonderful is a little dubstep bass nod halfway through. Much like chilli and chocolate, it shouldn’t work but is a pleasant surprise that clearly does. Captain Cut and his remix is a pounding, suitably loud twist on the brilliant original shout-fest version.

Original ‘Colours’ taken from the album ‘Never Trust A Happy Song’ (2011) / @GROUPLOVE

SOMETHING OLD: ‘Son Of A Gun’– JX

That’s right, the weekend maybe over but don’t chuck those glo-sticks away just yet – the week doesn’t start until you clock in, and by my watch that’s enough time to listen to this CHOON (as the kids say)
JX brings you pretty much everything you need in your classic 90’s dance track: big female vocal – check, heavy bass and electric drum beat – check, random repetitive phrase to work its way into your head – check and an even more random accompanying pop video, incorporating close up shots of lips and eyes – check.

Originally released in 1994 it reached number 13 on the chart and a year later was remixed to the radio edit we all know and love and peaked at number 6. As a remixer he reached the dizzy chart heights with mixes for Erasure, Smash Hits poster favourites Deuce and quirky number and letter named dance group 2wo Third3 (see what they did there) – which, tedious link fact fans, included Richard ‘Biff’ Stannard who co-wrote last week’s Something New choice, ‘The Sea’.

One listen to this and you’ll understand why clubbing became such a huge trend in the early to mid 90s. The normal piano led hook of the ‘90s dance music’ genre replaced here by a buzzing chord synth makes it instantly infectious and one of the classics of its day.

Available on numerous 90s dance compilations including Ministry of Sound: Pump Up The Jam / www.rexthedog.net

SOMETHING NEW: ‘Old Pine’ – Ben Howard

So if you follow me on Twitter then you would have heard me banging on about this Devonian guy for ages. I first saw him play in a small room underneath an old pub in Truro to about 30 other lucky people and since then just seen him grow as a performer, songwriter, build upon an ever-increasing fan base to finally last year being picked up by a record label.

The lyrics in 'Old Pine' are so incredibly beautiful and descriptive you can almost smell the sea air. A camping trip by the beach never sounded so good – 'hot sand on toes, cold sand in sleeping bags. I've come to know that memories were the best things you ever had'. For me personally his song writing is so easy to enjoy and identify with as he sings about areas I've grown up in.

From the beach to the moors, our climate and places we spent summers, 'Old Pine' is not only gorgeous in lyric but also in its catchy melody and incredibly uplifting and energetic second half. Almost jig-like it fits the bill as folk music but not the normal acoustic plodding you may normally associate with the genre.

As I've so often mentioned in my recommendations it's always about the simplicity. Having toured for the best part of his early career either alone or with India Bourne on cello, the freedom he now has making a 'full' album has not gone to his head in bringing in elaborate string melodies or over-produced segments. The original demo of this song isn't too far from the finished song we now hear, and if you get the chance to see him do this one live – get ready to jump, what starts as almost a lullaby will have you bouncing with the crowd by its finish. Local lad did good.

From the EP ‘Old Pine’ and forthcoming album ‘Every Kingdom’ (2011) / @benhowardmusic

SOMETHING OLD: ‘Helicopter’– Bloc Party

The mass hysteria of this track hits you right between the eyes from the outset. If you weren't awake this Monday morning, you will be now!

Drummer Matt Tong is a wonder to watch if you've been lucky enough to catch Bloc Party live and he really goes for it in this, as does the insane guitar rift which also keeps you on your toes. You are allowed breaks to breathe with Kele's almost conversational verses, traditional of the band style, but isn't long before the stabbing guitar returns to do just that.

Rumoured to be written about George W Bush (as so many tracks around this time seemed to be) ‘just like his dad, same mistakes, something’s will never be different’, the hypnotic and deep vocals in the bridge lead to the perfect sing-along chorus for a mass of people at a sweaty and energetic gig.
Despite the guitar instrumental reminiscent of something by The Editors, this is Bloc Party’s sound to perfection. Much more than a song used on a football video game, but a vigorous anthem from a fine British band.

From the EP ‘Little Thoughts’ (2004) later released on the album ‘Silent Alarm’ (2005) / @thisisblocparty

SOMETHING NEW: ‘The Sea’ – Melanie C

I'm trying to write this without using sea related puns, but it's so hard when the production of the track is perfectly synchronised with what is so fascinating about the natural power of the ocean – both literally and metaphorically.

The introduction itself is like the build up before a wave, the surge before the crest as the anticipation of recorded waves and increasing strings entice to the first verse.
A voice often associated with strength and power, Melanie's vocals are almost whispered throughout the track. It works so effortlessly to create a tempestuous, dark ambience which is lightened somewhat with the unexpected but welcome appearance of a sitar - complimented by pizzicato strings like rays of light through the storm.
Multiple layers of strings and Melanie's underlying beautiful vocals driven by a unusual drumbeat which would keep any motley boat crew rowing in time, create a track of pure escapism and lush wonderment right up until the last haunting twinkles of a music box.
 Having grown up surrounded by the sea and many hours of my life spent in it, I don't think a track has even come close before to capturing the mystery and awe of the sea (or the metaphorical emotional relationship it otherwise represents here) as this song is so perfectly titled, produced, written and performed.

From the album ‘The Sea’ (2011) / @MelanieCmusic

SOMETHING OLD: ‘Thinking About Tomorrow’– Beth Orton

Beth Orton has one of those voices which is effortless. There’s no putting on a style or trying to emulate anyone else. I guess sadly the majority of people would just know her as that woman that always seemed to get nominated for Best Female at The Brits. Yes, I was one of them too but that made me bother to find and take a listen to her stuff and in ‘Thinking About Tomorrow’, a gem was definitely found.

So chilled out it’s practically laid on its back; the lush mix of Beth’s gentle and slightly fragile vocals alongside the patter of an instrumental awash with strings, a bass line and flashes of guitar allow this track to take you away. At just over 6 minutes long, wherever you go in that amount of time you’ll come out the other side refreshed. My personal 6 minutes has sand and the gentle ripple of water.

A prime example of why Monday gets a choice of a weekly song from me. If you’ve had a hard Monday stick this one on around 8pm as the sun sets with a glass of rose. Who cares it’s a school night, you’ve earned it right? And if you like this gem, I can only encourage you to see what other absolute jewels can be discovered in the Beth Orton back catalogue.

From the album ‘Daybreaker’ (2002) / @beth_orton

SOMETHING NEW: ‘Back To Shore’ – Brother & Bones

Now I do like to support a bit of local talent, and when they’re this good a recommendation comes so easy. So in a music industry led by artists who like to do controversial things - wear meat dresses or need a nod from Louis Walsh and stint in ‘boot camp’ to get noticed; it’s incredibly refreshing to find a band who are genuinely talented, raw so in their passion and gain their popularity by word of mouth and live gigs. 

Without restricting them to the folk genre, this is more high energy stuff, an earthy drum met by the husky aggression of lead singer Richard Thomas. An incredible force when playing live, the same vigour is showcased in this track. Percussion, sliding guitar, foot-stomping - Brother & Bones are a musical army to be reckoned with.

It makes you want to stamp, sing and with this particular track, shout it from a rugged cliff top in deepest Cornwall as it reaches it a heart-pounding crescendo end.  No less, a rewarding breath of fresh air.

From the EP ‘Skin’ (2011) / @BrotherAndBones

SOMETHING OLD: ‘How Can You Mend A Broken Heart’– Al Green

Yes I’m gong waaaay back this week! Originally written and recorded by The Bee Gees, Al Green’s version is all kinds of soothing, sexy and one of the most gorgeously laid back songs you’ll ever hear.

The simplest of productions it is of course the vocals which steal the show. Such emotion and gentle persuasion in his voice, its slight husk and soul provides the listener with every belief that this man is pleading for help.
As with every good soul song, he builds from quiet beginnings to the crack of frustration and the odd yelp which only the finest of singers can truly pull off with sincere feeling rather than it acting as a filler.

Your classic organ, strings and female backing singers give us just enough layer to carry the song through its full 6 minutes but when it’s this good you don’t even take notice of its time duration. In fact, sounding this good, you’d even be prepared to let him go through a bit more heartbreak just to hear the warm tones of an incredible voice. As my dad would say, they don’t make them like that any more.

From the album ‘Let’s Stay Together’ (1972) / www.algreenmusic.com

SOMETHING NEW: ‘Two Islands’ – Outfit

Liverpudlian band Outfit are incredibly hard to find on the internet. Not even the power of Google can rustle up a website or even wiki page. But hopefully a listen to this song will encourage you to seek them out, live or otherwise and what I can’t tell you of the band I can tell you of this memorising track ‘Two Islands’ (best found at the moment on YouTube).

At just over 6 minutes long it uses this time to build from drums and noises from a very early episode of Dr Who into a driven beat of a twinkling piano hook and atmospheric tale of loneliness.
I’m sure the way I’m describing it you would imagine something quite dark, but the vocals, tambourine and cymbal lead drums keep it light and dare it say it, summery.

Guitar solos weave their way in and out of the verses and chorus’ to the point where there seems to be no traditional verse, bridge, chorus set up. This isn’t a bad thing. It purely adds to the escapism of its entirety.
The single is released in September, I’d love to tell you of an upcoming album but even research hasn’t provided me with any more details. So enjoy the mystery, it seems quite a unique way of marketing a band these days but who knows, if the rest of their stuff if this good - perhaps it’ll sell itself.

Single out on September 12th 2011 / www.everynightidressupasyou.com/music.php

SOMETHING OLD: ‘Let Forever Be’ – Chemical Brothers

One of the UK’s finest dance acts, The Chemical Brothers teamed up with Noel Gallagher to produce this anthem of a crazy drum loop mixed with Noel’s vocals which, following the 90s dominance of Brit Pop, are instantly recognisable on their own merit.

A dance track but indie-fied (yes that’s another word from the Dictionary of Helen) the heavy drums and roaring guitar slide are not what you would normally expect from essentially a ‘dance’ record.  Elements of string sections being played backwards lean towards the Beatles, but once those drums kick in it suddenly develops more meat and attitude than a West End bouncer.

Psychedelic breaks and a throbbing bass line prevail to make it more than a vocal/drum dominance; but both the production of the Brothers and the forefront vocal of one Brother compliment each other perfectly.
Also check out the video, it’ll quite easily mess with your head if you try and figure out how it was made but is a pure spectacle in itself.

From the album ‘Surrender’ (1999) / @ChemBros

SOMETHING NEW: ‘Hits Me Like A Rock’ (Dillon Francis Remix) – CSS

So we’ve been battling the elements a bit in good olde England this August, flash floods and what not – the usual. But thankfully CSS have brought their flavour of Brazil with the help of a gorgeous remix from Dillon Francis to put some puff back in our lilos before summer’s out.

A chilled out remix with enough attitude to encourage the shaking of body parts, its chilled out patter of synth hooks breaks through like sun rays piercing the clouds.
Minimal on vocal until a shouty middle eight if you like half way through, the tempo switches again to an even more mellow beat then returns effortlessly to the salsa, samba, whatever genre you’d like to call it, before you reach temptation to press repeat.

Kept to a perfect sized portion, we all know how remixes can turn into epic 15 minute productions of their own, this one is long enough to keep your attention and keep you nodding your head for its 5 minutes and 11 sunny seconds.
If you haven’t had a holiday this year (yes that’s the sound of the world’s smallest violin) then at least crack out the BBQ in the back garden and stick this on for an instant splash of Rio as the sun goes down.

From the album ‘La Liberacion’ (2011) (remix is single only) / www.youtube.com/csstv

SOMETHING OLD: 'New York' - Ryan Adams

A song perhaps made more famous by its video, featuring the New York skyline filmed 4 days before 9/11; Ryan Adam’s take on the city so good they named it twice and wrote a thousand songs about, is an instantly catchy track minus the clichés of previous NYC songs.

Describing areas less well known of the city, you get a real feel for his story as he goes on to explain despite being in and out of love his true love is that of the area. It’s romantic without being glaringly obvious, touching without being slushy. Uplifting both in music and vocal, it maintains the driving force you’d associate with its subject.

Its live sound production also portrays this image of him busking down in Times Square, that authentic and raw tone makes the story so much more believable. Minus the glamour and schmooze of Sinatra’s great, Ryan Adams shows us that even away from the skyscrapers and showbiz; everyone is susceptible to the charms of the Big Apple.

From the album ‘Gold’ (2001) / http://paxamrecords.com/

SOMETHING NEW: ‘Where We Want To Be’ (Acoustic Version) – Joe Echo & Ben Barnes

Lay down, close your eyes and simply escape to this track. Bold enough introduction for you? It’s worth it, a simply beautiful song which will scoop you up, cradle you and let you get out of here for 3 minutes 40 seconds of pure utopia.

A voice which could melt the hardest of hearts, the subtle touches of harmonies and instruments simply brush the track with no unnecessary over production.  I could get all gushy and use some dreadful examples of how stunning this song is, but here floating on water is my best descriptive image. That pure escapism with a blissful lack of control of where it may take you.

An acoustic version of what is originally quite a rocky anthem, both are excellent but for me this edit is a fine example of how music can fill all your senses.  ‘Feel the breeze’ and ‘come away’ – I wouldn’t need any more convincing.

From the album ‘Killing Bono’ (Original Film Soundtrack) (2011) / @benbarnessource

SOMETHING OLD: 'Slight Return' - The Bluetones

The sadly soon to be split 90s favourites, The Bluetones embark on their farewell tour next month and for me this, their biggest hit, remains a firm favourite-  sounding particularly glorious in the summer.

Lead singer Mark Morriss possesses one of the softer voices from the rule of Britpop, making the songs of the band easily recognisable and enjoyable, without that whiny drawl so many other bands influenced others with during that time.
Despite that, there’s still an element of attitude in the track particularly in the bridge when that almost synonymous pattern of drums and guitar from that time are made their own with the harmonies which graced and stamped many a Bluetones track.
If this song isn’t new to you then I’m sure you have memories of your own to accompany it, if it is then I would highly recommend you have a listen to the impressive back catalogue. Or even better, catch them one last time on the road.

If this is perhaps what The Bluetones will be mostly remembered for, that and the memories of what a great live band they were too, then ‘Slight Return’ is a fine legacy from an exquisite band.

From the album ‘Expecting to Fly’ (1996) / @TheBluetones

SOMETHING NEW: 'Jar of Hearts' - Christina Perri

The only downside to the beauty of this track is that I’m certain the instrumental will be used in one of those X Factor montage videos. So try to forget that and allow yourself to be immersed, I do warn you however it’s not one to listen to if you’re feeling a bit, well, fragile.

It’s so rare to hear a song which doesn’t use a drum beat, I can only think of Adele currently who has done that; but as is so often the case when the vocal and lyrics are this incredible the song drives itself. All the strings and piano of a romantic out-pouring, in fact it’s a song of defiance against a lost love – ‘you’re gonna catch a cold from the ice inside your soul’. Ouch.
Some parts remind me of the other Christina, in particular her track ‘The Voice Within’. The middle eight brings a nursery rhyme like melody before it drops you back into the wonderful chorus – the strings alone building where normally an almighty drum roll would bring the reprise. This Christina’s voice is full of pain but dogged determination, the simple production allows us to hear almost a quiver in her voice at times.

It’s the kind of song you wish you’d written after that thing happened. We’ve all been there. But Christina Perri’s done it for us, and to the kind of perfection most of us couldn’t even imagine. Relate and enjoy.

From the album ‘Lovestrong’ (2011) / @christinaperri

SOMETHING OLD: 'Ghost Town' - The Specials

Time to throw one of my all time favourite songs into the mix for Blue Monday Music. Yes, yes, every song is my favourite but ‘Ghost Town’ is right up there.

Lyrics which could easily fit into today’s recession hit society, the eerie introduction is juicy enough to encourage you to keep listening (yes I did just use the word ‘juicy’ to describe a song).

A slightly more gentle version of the ska which dominated the music climate of the early 80s, it’s a sad tale of what has become of a once exciting and bustling town. As the song takes a dramatic uplift in vocals and key to describe the ‘better days’ of the ghost town, we’re suddenly brought crashing back to reality, a wailing ode to how it used to be.

Great songs stand the test of time and although I wasn’t even born on its release, I can easily relate to its lyrical story. There’s no other song like it. It’s not just special, it’s genius and I defy anyone not to wallow in its glory. Who knew recession could sound so good?

Originally a non-album single (1981) available on ‘The Singles Collection’ / www.thespecials.com