On August 22, Jim Bob released his 13th and 14th albums on the same day- Automatic and Stick.
While this is a basic generalization, Automatic is in the mold of his last three albums- a series of narratives from everyday life in which Jim Bob can skewer society when it needs it and compliment the positive aspects we need to hear too.
But Stick is a louder, noisier affair that is closer to the albums he made 30-some years ago as part of Carter the Unstoppable Sex Machine.
Songs like “Art” and “Last Day of the Tour” are pure glam rock stomp a la Slade and the Sweet and not altogether that much different from Carter USM’s 1991 album 30Something.
Closer "There’s Not Enough Space in the Hall" brings the proceedings to a close with an (almost) life affirming singalong with a reference to Amazon Alexa thrown in (it’s Jim Bob after all).
Opener “A Song by Me” is an expletive filled statement that would have opened a Carter album with the band in “power trio” mode. A song like “What a Sh*tshow” wouldn’t fit on Automatic lyrically or even musically (its melody similar to a punk reading of “I Had too Much to Dream Last Night” but we are better for having it.
While Carter USM were one of my favorite bands of that era, they probably weren’t in my top five favorites. But as implausible as it seems, Jim Bob has been honing his craft. I would put him up against any songwriter today, and Stick is kind of the fun punky record but the lyrics are solid too.
On Bandcamp, Jim Bob says ‘Automatic’ and ‘Stick’ are both the greatest album (sic) Jim Bob has ever made. He might not be wrong.
In the early 1990s, Carter USM rode a wave of indie rock that incorporated dance, hip hop and punk.
The band hit their peak in 1992- going to # 1 on the UK Album charts and their biggest success in the US with 1992:The Love Album.
Though the music of that time has faded largely from memory, 1992: The Love Album is an all time favorite of mine. Critics will occasionally bring up the band that form forgot. Carter threw puns about while making wry observations about the mundane day to day or sneaking in social criticism into catchy pop songs. The band had Ian Dury show up for a cameo, and though it may have seemed an unusual pairing at the time, there was definitely a linear path from Dury to Carter’s lyricist “Jim Bob”.
Although it felt trendy at the time, the music from the era didn’t age well. Now if doesn’t help to name your band “the Unstoppable Sex Machine” or have unconventional hairstyles or have the guitarist name himself Fruitbat.
But none of these bands get much praise anymore. In the US, the most successful band in this genre and time was Jesus Jones. Even with their massive success, you never hear anything about them.
I often hear among those friends around 50 years of age who much they loved Ned’s Atomic Dustbin but between Britpop and Grunge, it seems like this music was just a short lived fad.
Jim Bob didn’t stop when Carter broke up in 1998. He wrote an autobiography and then became a novelist. From 2003 to 2016, he released 7 albums. But it was 2020s Pop Up that brought him back to attention, breaking back onto the UK Album charts.
It was also the first time I had heard his solo music (and indeed, the first I had given him some thought in some time).
That album Pop Up, 2021s Who Do We Hate Today and 2023s Thanks for Reaching Out were revelations. Each record took personal narratives to make comment on the current world- whether it be toxic masculinity, cancel culture, gun violence or any number of other topics.
For my money, I am not sure there’s a better songwriter with that much quality output in that time frame.
My expectation would have been that after being so prolific, the quality would go down or the artist burn himself out. So I was shocked when JimBob approached 2025 by releasing two albums on the same day. More shocking is that they seem to be both quality.
Today, I am going to focus on Automatic. The other album Stick is a noisier affair that recalls the Carter USM days, but Automatic is very much in the vein of the three previous albums and is recorded with the same backing band.
On lead single “Danny From Nowhere”, he sings “I have broken a promise that I made to myself I’d never write another one of these songs”
But he has and he has done another album of them. Whether the lyric is true or artistic license Automatic follows the template and showcases his narratives of common people and their hobbies and worries whether it be drones, knitting or mortgage. There are everyday villains and everyday heroes. There are also killer one liners like “wars don’t end/just like Boy Bands they just go on hiatus”.
As good as his recent run is, the album unexpectedly may be the best one of his solo run yet. “Danny” is the single and it’s fantastic but my favorite song on the album is “Can you hear us at the back of the room”. At its heart, a riposte to people who complain about new music being derivative, but is a celebration of a lot of bands that influenced Jim.
There’s still no one quite like Jim Bob. Half Man Half Biscuit come to mind but they seem to come at things slightly different. There’s a bit of “how the hell do I categorize this” in that way you might say the same thing about The Divine Comedy or The Wedding Present or Gorkys Zygotic Mynci.
While Jim Bob says Automatic was originally planned as B-sides for his other album (an idea he quickly gave up deciding on two records) it is really one of my favorite records of the year and proof that Jim Bob is one of the planet’s underappreciated artistic geniuses.
I find Cody Jinks one of the more interesting artists in music right now.
He broke through about a decade ago at the forefront of a new generation of Outlaw Country.
No surprise that Jinks (like Hank Williams 3) came out of metal first. This new breed looked upon Johnny Cash as their hero, but superimposing what they thought he should be- a bit of Bon Scott and a bit of Lemmy, or had come to Ronnie Van Zant via James Hetfield.
This was the direct descendant of Copperhead Road- bluegrass at the crossroads with heavy metal.
When Jinks started making this music, mainstream country music was transitioning from a Fleetwood Mac/Eagles and Kenny Chesney’s Jimmy Buffet influence to a party style that was strongly influenced by early 00s hip hop (Nelly and Florida Georgia Line had one of the biggest country collaboration hits of 2020).
But the current country music landscape has switched to a more serious introspective vibe. While critics generally don’t like Morgan Wallen and Jelly Roll, their style is build off this vibe, and all across the charts - Zach Top, Cody Johnson, and Lainey Wilson among many others. It’s hard not to think that if Jinks had played the major label game, he could have cashed in.
That said (like Charlie Crockett who comes to the genre with a slightly different approach), Jinks probably isn’t too disappointed. He’s filling larger size venues while making the music he wants. At the end of the day, this is probably his ideal outcome. Heck, his song “Loud and Heavy” is (along with Johnny Cash’s “God’s Gonna Cut You Down”) one of the top walk up songs in Major League Baseball.
Armchair critics can find plenty to complain about - Jinks has been over prolific at times, the production quality has sounded DIY, etc
But 2025s In My Blood sounds like the kind of album you would want him to make. It is very much in the vein of 2024s Change the Game. Produced by long time bassist, collaborator and producer Joshua Thompson along with engineer Charles Godfrey (Dropkick Murphys, Yeah Yeah Yeahs, Swans) it provides an accessible starting point for new fans, while generally providing the kind of front to back listen to satisfy most long time fans. There is a guest spot from Charlie Starr of Blackberry Smoke who if you don’t know, play blues influenced Southern Rock. That style mix would seem a good fit for Jinks fans.
That 2024 album introduced Jinks as a newly sober troubadour who was looking inward like a late era country star might have done. Those themes run through here as well. That said, it’s not like his MO has changed that much - Hank Williams and David Allen Coe get namedropped, the rock songs rock and the country ballads could fill an arena. It’s drawn from the crossover radio appeal of Hank Williams Jr and Travis Tritt just as much as it is from the outlaw feel of Merle and Waylon, but it also reflects the more modern mindset of Tyler Childers or Colter Wall.
Which means this won’t change anyone’s opinion - songs like Lost Highway will scratch the itch for renegade country and closer When Time Doesn’t Fly could for seamlessly on country radio. But most songs like Monster and Found ride both sides of that.
Which is the genius of Cody Jinks. Chris Stapleton may be the only artist that fits the tightrope of country radio and serious songwriting.
For example, Jason Isbell would sound out of place on country radio (even though his songs when sung by others have become hits) and Blake Shelton is never going to be taken seriously by critics, despite his booming voice. In-between lies Jinks.
There will be some people who will never be satisfied (chasing the fresh sound of 2015s breakout album The Adobe Sessions) but for most fans, it’s a solid set of songs from a now well established artist.
The Old 97s popped up with their break through album Wreck Your Life in 1995. The same year that gave us Wilco’s AM, the Jayhawks Tomorrow the Green Grass and Son Volt’s Trace (if any year could be called ground zero for Americana, it’s a good one with even established artists releasing well loved folk tinged albums that year - Springsteen, Earle, Emmylou, Prine,Hiatt)
While the Old 97s didn’t get as much attention at the time, it would be less than a decade before they were at the forefront of their genre. Decades later, they are an alt country institution.
The band is the rare one where it has kept its original members. Lead singer Rhett Miller is the face of the band. That isn’t a surprise. He’s had a concurrent solo career with nine albums.
But Rhett ISN’T the Old 97s. There’s some proof in his solo career which is a bit more pop than the band’s output.
If you have seen the band in concert, a highlight has been guitarist Ken Bethea’s verbal asides.
Bethea is a great compliment to Miller, a Peter Buck to Miller’s Stipe. Drummer Philip Peeples hardly gets any press but is a fantastic stickman giving that country punk beat. Like REM or U2, it’s apparent that every member is important.
I hate to belabor the REM comparison but bassist Murry Hammond is a bit similar to Mike Mills in many ways. A solid bassist with beautiful vocal talents who doesn’t look like a rock star
On the band’s first run through 2008s Blame it on Gravity, the band usually gave Murry two songs on each album to write and sing, including the band’s classic “W Texas Teardrops”. He contributed two songs to 2020s Twelfth as well.
Hammond is perfect in that role as second vocalist, in the way Steve Diggle was a great counterpart to Pete Shelley, or Grant Hart to Bob Mould.
Trail Songs of the Deep isn’t Hammond’s first solo album (He released his debut in 2008) but this may be his first high profile one. Unlike Miller’s albums, this isn’t an album to listen to once and make a decision.
It’s laidback and a bit melancholy.
Opening track “3:10 to Liverpool” shouldn’t be surprising but Murry is more spaghetti western than his band ever gets to be. Its references are probably more artists like the Derailers and Charley Crockett (who also shares producer Mark Neil). The title of that track gives you in a sentence the genesis of the sound that the band Hammond created- a bit of Beatles, a bit of American West cool.
In fact, there’s a bit of “country noir” vibe. It doesn’t really sound like Calexico but you could describe the music the same way. There’s a little bit of the same vibe of David Olney, especially his last album- the Goth tinged Whispers and Sighs -or the likes of Jim White who has done quite well in the genre.
It might not be for everyone but give a chance and you might find a nice under the radar record for alt country fans.
My experience was that if didn’t grab me at first, but it will go down as one of my favorite albums of the year, once I realized it was a slightly different vibe than Old 97s or Rhett Miller.
Ken Boothe is one of my all time favorite vocalists. In the mid 1960s, he was at the forefront of the invention of Rocksteady. In the early 1970s, he had a handful of reggae hits in the UK that only two or three other artist could match (even getting namechecked by the Clash on “White Man in Hammersmith Palais”)
So I don’t begrudge Boothe for staying busy and trying to attract new fans. 2017s Inna de Yard album with backing from the reggae collective of the same name is a five star album.
A mix of a handful of his big hits and newer or lesser known songs performed mostly in an acoustic setting, it truly is one of the great albums of the last decade. I was already a Boothe fan thanks to the various Studio One and Trojan compilations, but this is an album that would convert new fans
So you will get no complaints out of me when Jah Wobble has partnered with Ken Boothe for 2025 album Old Fashioned Ways.
Boothe has picked some of his biggest songs- “Artibella”, “Everything I Own”, “Is it Because I’m Black” and “Freedom Street”- and some well known covers - “Just My Imagination”, “My Girl” and “Ain’t No Sunshine”.
Admittedly, it’s hard to take the album seriously. Besides the track list, the cover is nondescript AI generated art; but mostly everything about it (including the press kit) looks exactly like last year’s Timeless Roots - the album Jah Wobble made with reggae legend Horace Andy.
Cleopatra Records has a bad reputation recently as their main MO has changed from being known for their 90s Goth records to recent decades of mainly churning out low quality punk compilations. Last fall, the label made headlines as it appeared they were forcing out Dead Boys singer Jake Hout to replace him with AI generated vocals of the late Stiv Bators.
But Cleopatra has had some notable releases lately and the album does sound good. I am sure Wobble legitimately is a fan of Andy and Boothe. Wobble, of course is a legend himself, bassist for the classic early Public Image Ltd albums and had a solid solo career afterwards often working in high profile projects with people like Sinead O’Conner, Bill Laswell and Brian Eno among dozens of others.
Boothe sounds great and Wobble accompanies him with generally a deep bass or dub sound. Although their are a fair number of Boothe compilations, this album pairs well with Inna De Yard as a good primer for Boothe. There’s surprisingly little crossover even though both albums feel designed to introduce Boothe a new audience.
I believe the only song on both is Booth’s signature tune “Artibella”. Boothe has performed it often over the years, sometimes in ska or rocksteady, sometimes as reggae. It is one of my all time favorite songs and this point does not disappoint as his yearning vocals are perfectly matched by Wobble’s dub accompaniment.
“Ain’t No Sunshine” is so well trodden as a cover but Boothe sings it as it is everything to him before Wobble turns it into a dub delight. “You Left The Water Running” has been performed by the greats- Otis Redding, Wilson Pickett and even Boothe back in 1974- and here it invokes the greats. There’s no real clunkers here. Even “Reggae Christmas” which was written and originally released in 1984 by that noted reggae legend Bryan Adams (of “Cuts Like A Knife” fame) appended at the end is quite enjoyable
It feels weird getting excited about an album that won’t get much press (Mojo magazine did give it a glowing review but only awarded three stars out of five) and maybe that’s understandable, but it’s a really great listen.
On occasion, I have sketched out the 100 bands (or so) that have influenced me the most.
I am not sure where Bauhaus falls on the list, but they surely merit discussion.
Goth probably exists with or without them but they definitely created a sound and vision that was something new from what came before.
The compilation Bauhaus 1979-1983 is one of the great retrospective albums of all time- drawing from their four albums augmented with essential non album tracks. It is four sides of nothing but classic songs
After such a remarkable run, most artists don’t quite have such a successful second act, but Peter Murphy and his bandmates certainly did.
In 1990, he hit his commercial peak with his third album Deep. The single “Cuts You Up” was a massive hit (it even broke the US Top 100) but is truly an all time great song.
I didn’t expect to follow Murphy but caught a listen to 1995s Cascade and quite fell in love with it. Single “Scarlet Thing in You” was limited to scant MTV airplay on 120 Minutes but it is a great song. The album that surrounds it was no filler either. With a team consisting of producer Pascal Gabriel and guitarist Paul Statham (the two men would go on to cowrite Dido’s debut single in 1999 and cowrite a song for Kylie Minogue’s 2001 Fever album) and innovative guitarist Michael Brook (who’s collaborated with Brian Eno, Robert Fripp and the Edge), Murphy combined Goth and Pop with atmospheric soundscapes and a Mediterranean influence.
Murphy would continue to release albums sporadically. Bauhaus would reunite on four occasions including a lengthy bit from 2005 to 2008 where they would release the album Go Away White- an album which did not quite match up to earlier work.
In 2019, Murphy would suffer a heart attack during the then recent Bauhaus reunion tour. Bauhaus would start 2022 with another regrouping and recording a new single. But as the band started the tour, they had to cancel. Murphy entered rehab amidst rumors of some old demons returning.
I have to admit that I had low expectations for album number 11, 2025s Silver Shade, but it definitely caught my ear.
Co-writer and production credits are shared with Killing Joke bassist turned superstar producer Youth. Trent Reznor contributes to four songs. Tool bassist Justin Chancellor plays on five songs, Tool drummer Danny Carey on two. The closing track is Let the Flowers Grow, a duet with Boy George
Age suits Goth rockers well and with a generation passing,
Murphy has become an elder statesman. While the album falls short of classic Bauhaus, it’s still quite the success.
While most songs don’t quite hit the transcendence of lead single “The Artroom Wonder”, songs like “Cochita is Lame” and “Swoon” are poppy earworms. Flamenco guitarist Amir John Haddad brings international flavor to the second side of the album.
Bowie has always been a close comparison to Murphy but it’s hard not to bring to mind the Reznor influenced Bowie albums of the 90s. This, like that of Bowie’s Outside doesn’t quite measure up as a masterpiece, but with a measure of ambition and a legendary talent, it is a decent genre exercise. Another obvious comparison is Gary Numan’s recent work.
Like Numan, it’s an update to his groundbreaking work from decades ago. The themes of futurism and apocalyptic fantasy mixed with World influences. If nothing else, it always is interesting.
Genre fans should enjoy.
Unfortunately Murphy is having health issues again and has cancelled his tour. He is 67 now but it would be great if we could get a few more records like this from him.
1989s Key Lime Pie by Camper Van Beethoven may be my favorite album of all time.
The previous album, 1988s Our Beloved Revolutionary Sweetheart is more critically acclaimed (as is their 1985 debit Telephone Free Landslide Victory, and I do like both of those records quite a bit) but Key Lime Pie always seemed the perfect record to me.
Fortunately, I dispensed with that notion quickly, as Cracker came to play live in my town and they won me over. So like everyone else, I bought those first two Cracker albums.
Cracker stayed busy but radio was no longer playing their new stuff. I heard some songs off the Camper Van Beethoven reunion album 2004s New Roman Times (incidentally off of Pandora, which is one of a few streaming services Lowery has fought tooth and nail over the years). While the album did not get rave reviews, it scratched my particular itch.
In 2011, Lowery released his first solo album The Palace Guards. It’s quite a good album with some of that Camper wit, and may be my favorite of his 21st century albums Two more California themed records by the reformed CVB came in rapid succession-2013s La Costa Perdida and 2014s El Camino Real. Both are quite good.
From what I understand, Lowery has been busy but his albums have only been released online through Bandcamp and via CDs through his website (a limited release of 1000 which have sold out). So there was 2020s In the Shadow of the Bull- covering his family and stories involving them. 2021s Leaving Key Member Clause- covering the years of Camper Van Beethoven through that third Cracker album and 2023s Vending Machine which covers a bit of everything from the passing of Mark Linkous, fleeting fame and air travel.
These three albums are seeing a wide release as a two album set in 2025 as the autobiographical Fathers Sons and Brothers. Though I have to admit that it didn’t grab me at first, it has quickly become one of my favorite albums of the year.
It doesn’t hurt that Lowery is such a fantastic storyteller and these real stories sound like the stuff of fiction. Songs like Disneyland Jail and How Does Your Sister Roller Skate sound less like a book and more like classic Camper. Opening tracks like “Frozen Sea” and “Super Bloom” are essentially an Lowery origin story. “It Don’t Last Long” is my favorite song. There are a few self referential songs in regard to how Lowery feels about his art and the fans. This song does that but in such a great way of talking about fame. It’s an insightful song in the way “Ballad of Mott the Hoople” was.
There is even a song called “I Wrote A Song Called ‘Take the Skinheads Bowling’” which certainly deserves a chapter (“you haven’t heard of him and you’ve barely heard of me”) At the risk of repeating myself, I just want to say this body of work does what it sets out to do- in a weird way it is a Lowery autobiography. As someone who feels passionately about his work, it seems to cement Lowery as one of America’s best storytellers. He’s not the only guy who was a critical acclaim in his late 20s that has been able to pull off work just as good in his mid 60s, but that list surely has to be short.
There are a few songs that are more traditional- the title track of the collection feels like a 1960s soul song augmented as it with help from the BellRays. There are a couple of songs like this that mix fine with the more satirical tracks. “Roll Down That Hill” is both a song that could be a Cracker single and details the night David met his ex-wife.
This is a standout album of the year for me and if you ever were a fan of Lowery, check it out.
In 1992, Jonathan Richman released his fourth solo album I, Jonathan for the Rounder Records label.
I am not certain if this was my introduction to “Jojo” but it was either just prior or in quick succession to checking out his previous work.
Specifically, the two very different albums released in 1976 that are titled “The Modern Lovers” and “Jonathan Richman and the Modern Lovers”.
he former is a masterpiece that not only was part of the recipe of punk rock (“Roadrunner” was covered by the Sex Pistols among others; "Pablo Picasso" by Burning Sensations would make the Repo Man soundtrack, and be a John Cale staple) but created a genre of geek rock or "neurotic rock" that would inform The Violent Femmes, Pavement and Weezer. But it wasn’t the music Richman wanted to make. That was the latter- an album almost always described as “childlike” with songs like “Here Comes the Martian Martians” and “Hey There Little Insect”- it’s surely close to a five star album in its own right.
I was immediately a Richman fan but “I Jonathan” did help accelerate it.
It seems a perfect album. While it is well in line with the second incarnation of Modern Lovers, some of that original Jonathan is there too in the observational song “I Was Dancing in a Lesbian Bar”(what has likely become his most famous non- Modern Lovers song) and the friend drama of “You Can’t Talk to The Dude” as well as the love for raw pre-punk rock n roll on “The Velvet Underground” and “Parties in the USA”
Produced by Brennan Totten who had produced his previous record and would produce his next, I love the clear sound and how intimate it feels.
1995s You Must Ask the Heart follows a similar pattern- there’s a song about early baseball legend Walter Johnson, an upbeat cover of Tom Waits’s “Heart of Saturday Night”, “Let Her Go Into the Darkness” is a bit of the drama, a Spanish ballad and even a cover of “The Rose”.
Looking at Wikipedia, the contemporary reviews are quite harsh but I think that while it is not as good as I, Jonathan, it belongs in the same conversation.
Richman has never stopped making records but his career seems to be a difficult one to follow. I would always try to check out his new album but often would not have known about them until they showed up in some kind of Year- End conversation. Although I have my disagreements with Pitchfork.com, they seem to have consistently reviewed and championed Richman.
Recent releases are hard to find though. Richman moved from Rounder to Vapor (home of Tegan & Sara and Acetone) and then to the small Blue Arrow label.
I did a fairly good job keeping up with 2001, 2004, 2008 and 2010 records. They were typical Richman fare- more mellow and less immediately accessible than I Jonathan, but that’s my problem not his.
2016s Ishkode Ishkode and 2018s Sa we’re under my radar, but it’s not just me, their online presence is negligible.
In some ways. 2025s Only Frozen Sky Anyway seemed significant from the moment it was announced as a rare July 4 release. This came in tandem with the announcement that Richman’s albums were coming to streaming services. Not just the recent two largely unheard records but all of his 21st Century albums (Most of which, if not all, had not been online).
Only Frozen Sky Anyway is a fantastic album. It follows a similar template to those great 90s albums.
There’s a couple of songs that sound like classic Richman like “O Guitar” and “The Dog Star”. There’s the Spanish language “Se Va Pa’voler”. The album is bookended by two songs of Richman zen- the near album title opening track “I Was Just a Piece of Frozen of Sky Anyway” and closers “The Wavelet” and “I Am the Sky”. There’s biographical fare like “David and Goliath” and is that a cover of…. The Bee Gees’ “Night Fever” which sounds like an old Richman classic.
Richman’s current band is Jerry Harrison, the ex-Talking Head who was part of the proto punk Modern Lovers from 1971 to 1974 with Richman and drummer Tommy Larkins who’s been with him since 1996. The album is also dedicated in part to Andy Paley who produced the albums Rockin and Romance and Surrender to Jonathan and appeared on many of Richman’s albums through the years
Only Frozen Sky.. is one of the truly great records of the year and though there are some serious moments,
I can’t help but think there is something ageless about Richman. He seems perpetually on the cusp of middle age- the intersection of youthful innocence and elder wisdom. It felt that way on his Bezerkley Records debut when he was merely 25. It felt that way when it was quite accurate on I Jonathan at 41, and it still feels that way though on the new record now that he has reached 74 years of age.
Half Man Half Biscuit are one of my favorite “recent” discoveries. Though they are going on over 40 years since forming,
I have to admit that the name and style was a bit of a barrier to me.
But like so many worthwhile bands, they were worth the extra time.
Album number 16 is All Asimov and No Fresh Air, and it is the first new offering from them in three years.
Prolific and fitting in some kind of slot that is wit but not humor, I can’t help but compare them to Sparks. On paper, they should have been out of new ideas long ago but continue to delight their core audience.
All Asimov.. starts with the difficult to love “Horror Clowns are Dickheads”. While I agree with the sentiment Pennywise is no Edgar Allen Poe, and I tend to agree that people who like Horror Clowns (as well as people who say they hate clowns) are well…you know.
But things have settled to normal on the second song where our hero tells of the time he saw Badly Drawn Boy in a badly parked car with a badly grazed elbow.
While it’s not the masterpiece of the year, there is a lot to like about this album. For starters, you can be funny but if the songs aren’t fun to listen to repeatedly then what have you got? And All Asimov is strangely satisfying.
One would think the initial shock of “Falmouth Electrics” would be lost after the first listen and yet I am always compelled to hear this story of the ventriloquist’s dummy who looked “like Peter Murphy a bit” and couldn’t pronounce the letter B (“He said his name was Gary
I said: “Do you mean Barry?”
He said: “Yeah”)
It strikes me that there is a bit of a comparison to Luke Haines’s recent work. HMHB are full of wit but they still seem to put the song first.
I have glommed two things from online reviews and that I would agree strongly with both. One is the album is back loaded. The album reaches its stride with “National Album Day” and then takes off. “Going out of my Mind to get into Yours” follows as a frenetic rocker.
Also, the album isn’t an immediate classic, it’s a grower. It’s not a lot of things. It’s not their best album. It may not be the best album they are capable of making right now. It’s not like those latter-era The Fall albums that serious people will write serious words about. But at the same time, I can’t think of many albums that came out this year that I will likely enjoy more than this one. Long may the Half Man Half Biscuit banner wave.
If you know me, you might know I am a huge fan of the British band Suede (called the London Suede in the US).
Though they never quite made a huge impact here, they did have a brief moment.
Conventional Wisdom always wanted to paint singer Bret Anderson and guitarist Bernard Butler as a next generation Morrissey and Marr.
That reputation probably doesn’t do them a lot of favors.
Almost immediately after the release of their second album 1994s Dog Man Star, Butler left the band. Although I do think Dog Man Star is the best moment, they continued to make great music when Richard Oakes took the job of lead guitarist. Oakes gets pushed out of the limelight when Butler is mentioned, but he has had some great moments. Coming Up and Headmusic are pretty strong in terms of a band’s third and fourth records.
But equally, Butler made two solo albums - 1998s People Move On and 1999s Friends and Lovers that are fantastic. They did do well in the UK, but would make great “hidden” albums if you missed out on them.
Not glam like Suede, but 70s style rock with influence from blues and Psychedelica a la Spooky Tooth or the Small Faces.
Butler had had an interesting post Suede career. He teamed up with soul singer David McAlmont which had a Top 10 UK single, joined (at least for a couple of days) the Verve, and became a producer with a solid resume.
With Welsh singer, Duffy, he enjoyed Worldwide Success. But he also produced Aimee Mann, the Veils, Sons and Daughters, Black Kids and many more. He also produced the first Libertines single.
It took until 2024 for a third solo album, but before that he made collaboration records with Suede mate Anderson (2005s Here Comes the Tears), Catherine Anne Davies who releases music as the Anchoress (2020s In Memory of My Feelings) and actress/singer Jessie Buckley (2022s For All Our Days that Tear the Heart)
I am likely leaving stuff out, but let’s get to the present.
In 2022, Butler, Norman Blake and James Grant performed together at the Celtic Connections Festival. It was so well received that in 2025, we now have a Butler, Blake and Grant album.
It’s an impressive resume. Blake has fronted the great Scottish band Teenage Fanclub as well being in BMX Bandits. I am not as familiar with Grant who led 80s band Love and Money. I know that particular band as it was one that was loved by my peers as I was a teenager discovering British new wave bands. I also immediately think of them as contemporaries with the similarly named Love and Rockets. They even scored a hit on the US Hot 100 with 1988s Hallelujah Man
The album isn’t a 80s/90s indie rock affair despite a nice track dedicated to the latter decade. It reminds me a bit of an updated Crosby, Stills and Nash (the Uncut review leads off with this comparison but it’s hard not to think of), and it also feels in line with Butler’s work, which seems to be the dominating force.
Even then, while Butler contributes some great songs, Blake perhaps contributes the best in “One in One is Two”. Butler’s “The 90s” and “The Old Mortality” are top tracks, but “One and One…” sounds like a lost CS&N or Byrds classic.
While I would much prefer a harder rock sound, I hope this album gets to an audience who appreciates it, as it is a great example of this type of melodic, acoustic guitar pop.
Though there is an online pressure to like every single genre of music, I don’t know that I find it is necessary to me.
Still, I try to listen to all the relatable genres and “dub” seemed to be one that resisted me.
I am not quite sure why. I love reggae (and ska). I am surely one of the genre’s most unlikely fan. I used to go to a record store which staffed by a Rasta, but I can’t picture ever chatting him up for recommendations (there’s probably not a chance that wouldn’t have been awkward). Instead I read the British music press of the 90s which at that time mostly covered Britpop. That newsstand market opened up for import British magazines like Mojo and Uncut. Those magazines would feature a monthly CD, and often they might feature classic Reggae from Studio One or Trojan Records.
There always has been pressure to “listen” to certain albums. Surprisingly, I would say it’s even worse now than when I was a teenager. I am not saying it isn’t a bad idea to take an ambitious shot at listening to new stuff. Still, the online pressure to enjoy “Pet Sounds” or “Kind of Blue” or “brat” is ridiculous. Almost every other day I see a post of someone trying to force themselves into liking someone like the Swans. While I count myself one of that particular band’s biggest fans, with their immense popularity on sites like AOTY and RateYourMusic, I laugh at the idea of having to listen to them over and over again like a jigsaw puzzle.
So I try to make my listening as organic as possible.
When I was younger, I would definitely search out new-to-me artists, but I don’t really do that anymore. That said, I do listen to outlets that might introduce me to new sounds.
For example, the local public radio station which is where I probably first heard Keith Hudson. I wasn’t necessarily going to seek out a King Tubby record or a Scientist disc, but when I first heard Hudson, it was a bit of a revelation.
1974s “Pick A Dub” is an album that has become one of the most well regarded Dub albums of all time. I have to admit that reading the five star Allmusic review of the album, I have some idea why I enjoy it. Some of the typical Dub gimmicks like space and explosive sound affects are missing - with a deference to a stripped not overproduced sound. I also admit I love how he uses vocal snippets in his dub songs. I really find him quite appealing.
Pick A Dub has an all star cast with Carlton and Aston Barrett of Bob Marley’s Wailers, Augustus Pablo, and vocal cuts from Horace Andy and Big Youth.
I have also been spending time with 2004s The Hudson Affair compilation - a collection of songs, dubs and production work that is a Who’s Who of Jamaican music- Ken Boothe, U-Roy, I-Roy, Dennis Alcapone, Delroy Wilson and Alton Ellis.
Though I don’t worry about such things, that album is on The Guardian’s 1000 Albums To Hear Before You Die”
Brown sadly died young of lung cancer aged 38 in 1984. I don’t recall hearing much about him but clearly his work has only been more appreciated in the ensuing years.
What I found interesting as I was checking out his Wikipedia page was that Ian Curtis was a fan. To the point, New Order chose to cover “Turn the Heater On” for their 1982 Peel Session recording.
2025 sees the re-release of the 1979 album Nuh Skin Up Dub credited to Hudson and the prolific Jamaican band Soul Syndicate released on the German label Week-End Records.
It scratches my particular itch for some one who thought they would never “get into” Dub music.
One thing that surprised me about Iowa is it seems to have a deep love for the Blues. It is surely surprising but sure enough the Central Iowa Blues Society (and the various festivals and Hall of Fame that go with it) seem to be one of the healthier area club organizations.
There have been at various times enough people to support an all Blues nightclub in Des Moines.
he city is the size that it can’t always support such niche ideas (while there currently is not a Blues club here, there is a Jazz club downtown).
It’s not the only part of the state either. Other festivals around the state feature blues, and Kevin Burt is the latest Blues Legend to hail from Iowa City
Like anywhere, there are plenty of local events with live music. Rarely worth a mention, they provide steady income for musicians. I do have to admit that when the band is one of the state’s top notch blues bands and not just the standard cover band, I do take note. And when it’s a band I know friends like (that I hadnt yet seen) like Sumpin Doo, it’s enough to get me off the couch.
Sumpin Doo is the blues band of Iowa Rock N Roll Hall of Famers Gill and George Davis augmented by New York via Des Moines jazz pianist Jesse Villabos. Though there were plenty of popular standards like “Dock of the Bay” and “Take Me to the River”, the band could definitely hold their own on any Blues stage.
No surprise that the band was good, but I often go down rabbit holes and found a really good one for the Davis Brothers.
First off, they had chart success. In 1963, the golden era of doo wop, George and Gil Davis sang with the Blendtones and their single “Lovers” went to # 3 on the Billboard R&B charts. Online remembrances adds that the band was popular as they toured the West Coast, got strong airplay in Los Angeles from influential DJ Dick “Huggy Boy”Hugg and the song was only kept from the top spot by R&B classic “Just One Look” and the number one “Fingertips”
I often say we would probably be shocked to know the back story of people we meet and sure enough, the Davises have an incredible backstory.
Relocating to New Jersey, they joined a band called the Chosen Few which had a saxophonist named Clarence Clemons. Davis’s bio even includes recording with Springsteen. I could not find details on where but since Garry Tallent joined The Boss in 1972, I assume it would be on pre- Greetings from Asbury Park recordings, but given their documented history with the Big Man (and lack of details on those early recordings) I don’t doubt it.
Pulp’s 1995 album “Different Class” took over my listening that winter. In retrospect, it still holds up and I would say that not only is it a personal favorite, it’s a bonafide classic.
I have no problem comparing it to something like Who’s Next.
Since I played it to death, it might have lost impact but even then, I probably still would prefer 1998s This is Hardcore. If Class was the Saturday night party, Hardcore was the Sunday morning hangover.
Oh maybe I won’t proclaim it better, but I love it just as much.
Pulp had formed in 1978. It took until 1994 with His N Hers to even make a ripple in the US. Then it seemed a novelty. But being allowed to marinate, they really were able to make a timeless album.
In retrospect, it’s easy to see that the moment was gone by 2001s We Love Life. That CD never left my player. The band picked their hero Scott Walker to produce. Though, they will never eclipse the success of Different Class, I think this album was quite good. There are moments in that album that are some of the band’s best like “Bad Cover Version”.
Lest we forget, we were now in the era of The Strokes, the White Stripes and System of a Down. The time had now gone but I still loved that record. I hoped that we would get one more out of Jarvis.
I followed his every move post-Pulp and it was an unexpected path. While I never found his solo albums essential, they had moments. For example, “Don’t let him Waste your Time” is as good as anything he ever wrote. Within solo albums, soundtracks and unlikely pairings (like with Canadian producer Chilly Gonzalez) there is one album that I do hold in high regard.
2003s A Night With.. Relaxed Muscle almost got passed me but this electronica variation on what Pulp did best was a duo of Jarvis dba Darren Spooner and Jason Buckle of the All Seeing I (with Richard Hawley on a couple of tracks). None of the reviews seem to be positive but what a fun “lost album” it is. I am not sure where you can find it now but some of the songs have been uploaded to YouTube
I also think it’s worth mentioning Serafina Steer who was championed and produced by Cocker and has released some great music on her own, specifically 2013s The Moths Are Real. (Steer and Buckle are major cowriters and musicians in the Jarv Is project)
More is the new Pulp album we thought we may never get. Of interest, Gonzalez, Buckley, Hawley and Steer make appearances.
More feels a lot like their last album in that there’s quite a lot of what made Pulp great here. It’s not the beginning to end classic that Different Class was but it does feel like a solid listen.
“Tina” and “Got to Have Love” are immediate additions to any Pulp playlist- at once new but recognizable. But the B-side to the manic energy is the world weary Pulp which can be found on “My Sex” and closer “A Sunset”.
Overall, I have to say I am more than satisfied with the album. Of course, I want more and like the Pitchfork review of this disc, one can rhapsodize about Jarvis growing into a postmodern Leonard Cohen for the decades to come. But even if we don’t get it, it’s a nice addition to a splendid catalog.
