Quick ones: some short record reviews

v/a Stax Gold - The Hits 1968-1974 (1991)

So this is a collection of Stax classics from Ace Records. It's a great selection of southern soul sizzlers, but you probably know that already.

LoneLady Nerve Up (2010) & Hinterland (2015)

You will recall that I went to see Ms LoneLady earlier this year, at what was basically my first proper gig after the menace of Covid was vanished from the world. I picked these up at the concert. If you've listened to the LoneLady track I included on my 2021 compilation you'll get the basic idea: nervy vocals over a somewhat retro accompaniment of electronics and edgy guitar lines. LoneLady's Julie Campbell plays almost all the instruments on both records. Nerve Up is a bit more guitar-oriented than the later record but they are both broadly of a piece. There are Tim Burgess listening parties for both of these (Nerve Up & Hinterland), which I keep meaning to play back while listening to the record. Probably should have done that before writing this.

You can buy these and other records by LoneLady in record shops or from Bandcamp: https://lonelady.bandcamp.com

The Anchoress [2022 covers]

In an effort to rake in the $$$s, the Anchoress has been posting cover versions on Bandcamp for short time periods. I keep downloading them. The first one here is a cover of "The Tradition" by Halsey. I have no idea who Halsey is so the song has no prior residence for me. It's nice enough. The second one is "These Days", originally from Nico's debut album Chelsea Girl. I have a troubled relationship with that album: while it is certainly pleasant enough, I feel like it is basically False Nico, in that she is singing a selection of nice songs written for her by other people. It is also from before she acquired her harmonium and started writing her own songs of subterranean doom. "These Days" was written by Jackson Browne, reportedly when he was about 16. While it was not written for Nico, she appears to have been the first person to record it commercially. The Anchoress croons her way through it; divorced of my difficulties with Chelsea Girl it's hard not to listen to it here and conclude that this is in fact a beautiful song with appealingly wistful lyrics about loss and regret.

And then a cover of Depeche Mode's "Enjoy the Silence", the electropop banger slowed down. It's fine but not revelatory. Continuing the trawl through goth-adjacent tunes of yore, the next one is The Cure's "Friday I'm In Love". I've never liked this song and the switch from the uptempo poppiness of the original to the slower and sparser version her does not change my opinion that this is one of those fundamentally bad songs that everyone in the world bar me loves.

The last track is "Pennyroyal Tea", originally be Nirvana and released by the Anchoress after the US Supreme Court's revocation of the Roe v. Wade judgement (pennyroyal has history as a herbal abortificant of variable efficacy). The cover is fine but again, not revelatory.

In fact I think all of these covers are inessential, with the exception of "These Days"; none of them leap out at me like her 2020 covers of "Wicked Game" or "Martha's Harbour" did. But I'll probably keep chasing the buzz by downloading whatever covers she releases next. You can do the same by keeping an eye on her Bandcamp page: https://iamtheanchoress.bandcamp.com

Confidence Man Tilt (2022)

I feel like I bought a Roisín Murphy album by mistake. This is fine as far as it goes and the songs would probably be great live if you had Janet Planet and Sugar Bones dancing in front of you, but there aren't enough lyrics about how Ms Planet is amazing and everyone else is a loser. Some of the tunes also sound a bit over-reminiscent of other tunes by other artists. Howard Blake "The Moon Stallion" (1978)

This is the theme from this now quite obscure TV series that is now completely unavailable on home media and has never been released on English-language DVD. Its unavailability is a shame, as anyone who remembers seeing it will recall it as a classic of spooky 1970s kids' television. Its use of the Uffington White Horse and Wayland's Smithy interspersed with a plot mixing up Arthurian myth and Graeco-Roman paganism would make it highly relevant to our current revived interest in all that folk horror stuff. If you've seen it you'll remember its late-Victorian setting and its spooky plot based around the mysterious white horse of the title, with anyone who catches sight of it being doomed to die in the near future (conveniently the story's heroine, played by Sarah Sutton, is blind).

The theme, downloaded from YouTube, is of short duration, but in its 50 seconds it manages to evoke the stallion's untamed gallop while hinting at the esoteric content of the programme. The theme isn't even on YouTube (the "Moon Stallion" hits you find there are for a completely different programme), but it can be listened to here. Give it a go, but don't blame me if next thing you find yourself meeting a spooky white horse and then dying in an unfortunate accident.

images:

Stax Gold (Ace Records)

Hinterland (Bandcamp)

Diana (Sarah Sutton) and the Moon Stallion (Bradley's Basement: "The Moon Stallion")

Concert: LoneLady (Grand Social)

Join me in a journey back to February for what was my first proper gig post-lockdown: you know, a gig where you stand up and buy drinks from a bar and people dance a bit and stuff. But unfortunately I found that I had largely forgotten how to do gigs properly, crucially failing to recall that you really don't want to be bringing too much clothes along with you. It's better to be a bit chilly while walking to the venue than stuck with a mountain of stuff at it, particularly as it turned out that either the Grand Social was not operating a cloakroom or else had decided to carefully hide it away where none might find it.

LoneLady you will recall is the edgy electronic retro dance music sensation from Manchester whom I discovered via Tim Burgess and his listening parties (notably the one for her brilliant 2021 album Former Things). But before her there was a local support act: a chap called Chósta, who turns out to be from the picturesque locality of Donabate, which is the next place along on the train from where I grew up but somewhere I have never really explored properly, making it a zone of mystery and danger (accentuated by it being adjacent to an enormous but now largely derelict Victorian asylum). Mr Chósta was one of those laptop guys, so I was expecting him to be a bit boring, but actually his set was very enjoyable in a low key glitchy electronic kind of way. Consider checking out his material on Bandcamp: https://chosta.bandcamp.com

Although her records are all her own work, LoneLady (real name Julie Campbell) was playing with two other people: James Field, who bashed away at electronic drum pads while standing up, and Kendra Jane Frost, who played electronic keyboards and other instruments. The performance was great but I think maybe the other attendees were a bit like me and so were trying to remember how to do gigs. Audience responses seemed a bit muted, only really ramping up by the concert's latter stages. By the time members of Dublin's LoneLady fan community had remembered how to enjoy themselves it was time for LoneLady and her friends to bid us farewell. Still, it was great hearing the edgy electronic tunes from Former Things live, together with the tracks from her earlier albums, at the time still new to me. I hope that Ms LoneLady returns to these shores now that we have all remembered how to do concerts.

LoneLady's music can be found in record stores and on Bandcamp: https://lonelady.bandcamp.com

More concert photographs: https://www.flickr.com/photos/inuitmonster/albums/72177720298580159