Archive for October, 2009

October 12, 2009 3

In Praise of Porridge

By in Random

I love British comedy. As far as I’m concerned, the sitcoms and sketch shows borne from this country represent the pinnacle of comedy. Yes, the Americans have their fancy, schmaltzy shows that ooze gloss; written, no doubt, by a galaxy of over-achieving writers, glassy-eyed and gunning for that next paycheck. But a majority of the comedy shows written and produced here are, to my mind, world leaders.

The heinous, arduous, marathon TV session that was ’100 greatest sitcoms’ put my personal favourite, Porridge, at number 7, and Only fools and horses at number one. Well, with The Vicar of Dibley in the top three, and Father Ted not even cracking the top ten, you can imagine what kind of quality that particular list represents.

1. Only Fools and Horses (1981-2003) — 316,657 votes
2. Blackadder (1983-1989) — 282,106 votes
3. The Vicar of Dibley (1994-2007) — 212,927 votes
4. Dad’s Army (1968-1977) — 174,138 votes
5. Fawlty Towers (1975-1979) — 172,066 votes
6. Yes Minister / Yes, Prime Minister (1980-1984, 1986-1988) — 123,502 votes
7. Porridge / Going Straight (1974-1977, 1978) — 93,902 votes
8. Open All Hours (1973, 1976-1985) — 67,237 votes
9. The Good Life (1975-1978) — 40,803 votes
10.One Foot in the Grave (1990-2000)— 31,410 votes

Ronnie Barker and Richard Beckinsale brought Dick Clement and Ian La Frenais’ scripts to life, setting their cell alight with fizz and testy harmony: it’s a joyous, collective achievement.

The final scene of Final Stretch (originally transmitted 25 Mar 1977), finds prison officer Mackay asking Fletcher to look after his new, incoming cellmate; just as he had for the recently released Lenny Godper.

And it is here, not amongst those dusty, aged pages of manuscripts so frequently misconstrued for religion that you’ll find the simplest, most coherent philosophy for life.

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October 12, 2009 0

Audio Analysis of the Beatles Multitrack Masters

By in Musical Murmurings

Found this over at Waxy.org. Taken from BBC Radio 6′s Record Producers: The Extended Cut, hosted by Richard Allinson and Steve Levine, that aired last month.

Multitrack Analysis of She’s Leaving Home

Multitrack Analysis of A Day In the Life

Multitrack Analysis of Come Together

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October 12, 2009 0

The Social Media Guru

By in Random

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October 12, 2009 0

Laugh at the BNP

By in Random

Thanks to @iamjamesward for this slice of Monday hilarity.

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October 11, 2009 0

Nick Oliveri – Death Acoustic

By in Music Reviews

It’s impossible to think how Nick Oliveri felt getting kicked out of one of the biggest alternative bands in the world, and if anyone is looking for Death Acoustic to be a personal, confessional reflection (and, with that title, why would they?), it’s  not going to be found here. Oliveri’s contribution to the development of Queens of the Stone Age is not especially forgettable, particularly if you saw them live and caught a glimpse of their frequently nude bassist. The 10 songs here are a collection of covers that Oliveri has either had a hand in, or has a love of. Though his dedication to music is unquestionable, his ability to convey a song’s meaning with an acoustic guitar is debatable.

Sounding more like a series of demos that a musician might present to his band before instructing, “This is the arrangement”, Death Acoustic is a clunky, badly produced record: an idea that should have gone no further than Oliveri’s home studio.

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October 11, 2009 0

Chromeo – DJ Kicks

By in Music Reviews

Disco is not dead. Which is a shame. Montreal duo Chromeo are the latest group to contribute their mostly disco-oriented record collection to the !K7 collection. The first since Booka Shade’s 2007, this collection represents an uninspiring return for the usually strong label that gave us the classic Kruder & Dorfmeister mix.

The mix rolls in at just under one hour and features the kitsch likes of Toba (Movin’ Up), Lovelock (Maybe Tonight) and Leo Sayer (Easy to love). For those seeking a mix that dwells in the chic, spinning light of an ‘80s glitter ball whilst suspect funk is churned out by an aging DJ in danger of falling asleep – this record is the one that you must immediately pick up.

But, ironically, this is an hour’s worth of records that most people would rather not hear. Ever.

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October 11, 2009 0

Sharam – Get Wild

By in Music Reviews

The spaghetti western genre appeals to Iranian-American producer Sharam Tayebi. As one half of the Grammy award-winning duo Deep Dish, this debut solo outing finds Sharam opening up ‘Get Wild’ with a fairly convincing impression of a Sergio Leonie / Ennio Morricone theme before his record dissolves into faceless, repetitive tech-house. Disc one (entitled Wild Dish) includes ‘She Came Along’ which features Kid Cudi doing his best Kanye West impression whilst discussing polygamous arrangements as well as the legendary Chuck D. Well, so claims ‘Say Yeah’, but actually Sharam just sampled ‘It Takes A Nation Of Millions to Hold Us Back’ when Chuck says, “Somebody in the house say yeah!” Surely, the claim of ‘featuring’ is tantamount to false advertising. Or, er, lying.

Disc two (Side Dish) begins with the engorged 10 minute didactic excursion that is ‘Be the change’ and‘features’ Anousheh Khalili (also of Iranian-American descent). Get Wild really is an album filled with hubris and the tribute to Eddie Murphy’s ‘Party All The Time’ as originally produced by Rick James includes a snippet of the original which only highlights how awful Sharam and P Diddy’s interpretation is.

For any listener that has ever been to Ibiza, and remembers that one song which, when played, will trigger memories of the sun rising over the island signalling the opening of a new club someplace else, it’s unlikely to have been any track featured here.

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October 11, 2009 0

Nic Dawson Kelly – Old Valentine

By in Music Reviews

Nic Dawson Kelly carries a name that will conjure up images of three songwriters entwined under one moniker like Crosby, Stills and Nash; but Old Valentine is created by one artist and plays out like a very real homage to inspirations from the ‘50s and ‘60s. Though Dawson cites country bluesmen such as the legendary Son House as an additional influence, there is little evidence of that here.

His tremulous vocal style sounds much like a bleating Bryan Ferry, and will either entice or irk listeners. Kelly’s material is created primarily with acoustic guitars that are frequently combined with diatonic harmonica meanderings, and the train-like shuffle that made Johnny Cash famous. It’s hardly original stuff, and lacks the crossover quality that Amy Winehouse was fortunate enough to muster. Old Valentine is likely to find fans amongst the musically nostalgic, and with history such as it is, its affection will be hard to ignore.

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October 11, 2009 0

John Brown’s Body – Amplify

By in Music Reviews

This sixth album for American 8-piece reggae band John Brown’s Body finds the outfit fully embracing the production values that have become synonymous with Easy Star Records. This may come as a surprise to older fans more used to their usual rough and ready style and generally more reminiscent of British reggae in the late ‘70s and early ‘80s. The 12 tracks on offer here show off JBB’s ability to diversify as they turn their hand to associated Caribbean styles. From the dancehall flavours of title track ‘Amplify’ to the poppy dub refreshments on ‘The Gold’, there is undoubtedly plenty here to simultaneously keep fans happy whilst easily generating new followers.

Overall, though, the polished production is somewhat at odds with lead singer Elliot Martin’s lyrics which are generally steeped in more traditional notions of roots. Though it lacks the gutsy vibe that makes the emotion of reggae what it is, Amplify is an enjoyable listen that, quite literally, lives up to its title

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October 11, 2009 2

Sliimy – Paint Your Face

By in Music Reviews

Do you like Lily Allen, Mika and Frankmusik? Then you will love France’s version of these musical abominations. Having supported the poptastic Katy Perry and appeared on stage with Britney Spears, the 20 year old Moroccan-Algerian, Sliimy (real name Yanis Sahraoui), comes funded by major label cash, gunning for teenage bedrooms across the land.

With dreamy, sunshine pop melodies and titles like ‘Our Generation’, Sliimy’s musical arsenal includes major chords, reedy guitars, sparkling synths and counter cultural references to modernity such as Myspace on title track ‘Paint Your Face’. Note that rhyme of ‘face’ with ‘space’. Genius.

Ultimately, though, Sliimy’s floppy French delivery is utterly flaccid; and this distinct lack of grit results in a thoroughly irritating, saccharine treat that will rot minds before teeth. When Sliimy does embrace darkness, as he does on ‘Mum’ (“I just want you to be proud of me,”), he still spruces it up with xylophones and the same synth wash that permeates the entirety of this hideous, vacuous record.

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