The CLUAS Archive: 1998 - 2011

18
James Yorkston and the Big Eyes Family Players 'Folk Songs'
A review of the album Folk Songs by James Yorkston and the Big Eye Family Players Review Snapshot: An almost ideal combination of ye olde tunes with contemporary musical sensibilities, Yorkst...

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18
Tommy Reilly 'Words On the Floor'
A review of the album Words On The Floor by Tommy Reilly Review Snapshot: The debut album from Orange Unsigned Act Winner Tommy Reilly adequately shows his tremendous songwriting maturity, cleverl...

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17
David Gray 'Draw the line'
A review of David Gray's album 'Draw the line' Review Snapshot: David Gray's "Draw the line" - new songs, new band, new outlook. Same old same old. The CLUAS ver...

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17

Your correspondent is still a young man and reluctant to sound like an old fogey. But we remember when being number one in the UK singles charts seemed to mean something. It didn't necessarily mean that the single was any good - just that it had seeped into the mainstream consciousness enough to reach that milestone. Today, 'UK number one single' doesn't have the same air of cultural significance that it had even in Ireland. There are a number of possible reasons for this, commercial and technological and sociological, but the most likely is that when Westlife do something 14 times and Boyzone six times it no longer feels like something worth doing.

F*** me I'm number one in the UK and Ireland!: David GuettaSo far in 2009 a Frenchman has done it twice. Superstar DJ David Guetta (right) topped both the UK and Irish charts for the first time in June with 'When Love Takes Over', featuring Kelly Rowland on vocals. He repeated the UK part of that trick in August with Akon up front, on 'Sexy Chick', which at the time of writing has not made number one in Ireland.

While French footballers have thrived cross-channel, their pop counterparts seem to struggle as soon as they hit Dover - or even when they continue on to Rosslare. Guetta is only the fourth French artist to take a song to the UK number one spot, which means that only five Gallic singles have topped Her Majesty's charts. In Ireland too only five French singles have gone to uimhir a h-aon - but not always the same songs that reached Britain's top position. Seeing as you asked, here they are.

You should know the first because it's one of the most notorious singles ever: 'Je T'aime (Moi Non Plus)' by Serge Gainsbourg and Jane Birkin. Banned by the BBC because of Birkin's suggestive sound effects on the fade-out (the lyrics are relatively unerotic and in any case are in French), it went to number one in Britain on 7 October 1969 for one week, having stalled at number two in Ireland the previous month. A throwaway composition originally recorded with Brigitte Bardot, it was Gainsbourg's only hit in the UK - a matter of frustration for an anglophile who recorded most of his classic late-60s songs in London. The great man is therefore, from a British point of view, just a one-hit-wonder - and only then because of his British partner's non-musical contribution.

'Je T'aime (Moi Non Plus)' is remarkable for another piece of UK chart trivia. It was originally pressed and released in Britain by Fontana Records, who got scared by the subsequent controversy and dropped the single despite the fact that it had reached number two in the charts. Gainsbourg arranged to have the single re-released on the small Major Minor label, and it's this latter edition that made the final ascent to number one. But there were still enough copies of the Fontana release on sale for that version to linger lower in the charts while the Major Minor edition was on top. So, 'Je T'aime (Moi Non Plus)' by Serge Gainsbourg and Jane Birkin is the only single to occupy two places in the same week's UK chart. (Remember that for some future pub quiz.)

The next French chart-topper was much less controversial - but perhaps also less French because it's in English. In the summer of 1974 'She' by old-school crooner Charles Aznavour spent four weeks at number one in Britain and one week in Ireland. You may know the song from Elvis Costello's version on the soundtrack to 'Notting Hill'. Aznavour, a likeable sort with a distinctive warbling voice, was already (and still is) a star in France and had a sizeable international following - but, oddly, 'She' wasn't a success in his home country. He now lives in Switzerland: his parents were Armenian and he is Armenia's ambassador to Switzerland and delegate to the United Nations in Geneva.

No French single topped the UK charts during the 1980s. But in Ireland we had two French number ones that decade. However, be we French or Irish, let's not get too proud here. In mid-October 1981 our number one single was 'Hands Up' by Ottowan, whose other big hit was 'D.I.S.C.O'. Ottowan's singles were co-written and produced by Daniel Vangarde - who happens to be the father of Thomas Bangalter from Daft Punk. The royalties from Ottowan's hits no doubt kept young Thomas in pocket money for synthesisers and music lessons: without 'D.I.S.C.O.' by Ottowan there might never have been Daft Punk.

Incredibly, the second French number one in Ireland during the 1980s is much worse: ghastly synth-ballad 'Words' by F.R. David spent a shocking five weeks as our official favourite song in 1983. But then perhaps some French marketing guy had done his research, found that we were the country of Chris de Burgh and simply let us have it.

There was no French chart success on either island during the late '80s and most of the 1990s. Both Black Box, with 1989's 'Ride On Time', and Eiffel 65, makers of the irritating chart-topper 'Blue', were Italian groups sometimes mistakenly considered French. (Black Box's French frontperson, Catherine Quinol, was later revealed to have been miming Milli Vanilli-style to session singers.) A near miss on both sides of the Irish Sea was the 1998 hit 'Music Sounds Better With You' by Stardust, a side project of (hey!) Thomas Bangalter from Daft Punk.

Finally, in March 1999, a French act ruled Britannia (but not Hibernia) again - though under strange circumstances. 'Flat Beat' by Parisian DJ Mr Oizo ('pronounced 'wazzo' like the French word for 'bird', 'oiseau') was featured in a jeans commercial starring a furry yellow puppet called Flat Eric. This was the period when the soundtrack songs of this brand's ads were guaranteed to top the charts. And the title 'Flat Beat' is a perfect description of this numbingly repetitive track.

Modjo: rising to number one in 2000Mr Oizo is still making music. Last year he released an album called 'Lamb's Anger', the cover of which featured Flat Eric having his eyeball slit open by a razor blade. Strange, indeed.

France didn't have to wait very long for its first UK and Irish number one of the 21st century. In September 2000 Modjo (left) topped both charts with the catchy dancefloor pop of 'Lady' (video at the end of this article), built around a sample from 'Soup For One' by the mighty Chic. Modjo were a Parisian duo: Romain Tranchart making the music and Yann Destagnol providing the vocals. They followed up 'Lady' with an album but never enjoyed the same success again.

And that brings us up to 2009 and Guetta's chart-toppers.

No French act has yet had a UK number one album - Daft Punk's 'Discovery' got to number two in 2000, while Guetta's current album 'One Love' has so far peaked at number two as well. But Air's 'Talkie Walkie' was Ireland's number one album for two weeks in early 2004.

(UK chart statistics courtesy of www.theofficialcharts.com; Irish chart statistics courtesy of www.irishcharts.ie, a fantastic resource that has the seal of approval from the great Larry Gogan. All hail Larry.)

We've already featured 'Je T'aime (Moi Non Plus)' on this blog before so here's 'Lady' by Modjo, which we find rather charming:


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16

Yesterday CLUAS was one of the sites shortlisted for the 'Best Music Website' category of the 2009 Irish Web Awards, the winner will be announced on 10 October at a ceremony in the Radission SAS Royal hotel in Dublin. A total of 26 different sites were nominated in the category, the other sites that made the grade along as well as CLUAS are listed below. Best of luck to all concerned!

  1. http://drop-d.ie
  2. http://state.ie
  3. http://roisindubh.info
  4. http://nialler9.com
  5. http://kilkennymusic.com
  6. http://Muzu.tv
  7. http://thumped.com
  8. http://downloadmusic.ie
  9. http://musicreviewunsigned.com
  10. http://panicdots.com
  11. http://irishtimes.com/blogs/ontherecord
  12. http://guesslist.com
  13. http://dmi.com
  14. http://johnconneely.com
  15. http://metalireland.com
  16. http://goldenplec.com
  17. http://fredtheband.com
  18. http://umusic.ie
  19. http://archive.comhaltas.ie
  20. http://comhaltas.ie
  21. http://aliasempire.com
  22. http://heinekenmusic.ie
  23. http://haidooo.wordpress.com
  24. http://music.eircom.net
  25. http://sharoncorr.com

 


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16

Artist: Noah & The Whale

Song: Blue Skies

Album: The First Days of Spring


Artist: The Hold Steady

Song: Stay Positive

Album: Stay Positive

 

Artist: Doves

Song: Winter Skies

Album: Kingdom of Rust

 

Artist: The Blizzards

Song: First Girl to Leave Town

Album: A Public Display of Affection

 

Artist: Laura Izibor

Song: Shine

Album: Truth to be Told

 

Artist: The Zutons

Song: Hello Conscience

Album: Tired of Hanging Around

 

Artist: Stereo MCs

Song: Black Gold

Album: Double Bubble

 

[Image Credit: 'Walking on Water', shot by Rev Jules, Co. Clare 13th September 2009]

 


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15

French pop music has a number of signature styles that the wider world immediately recognises. There's le french touch - that mix (in varying measures) of electronica and indie made famous by Daft Punk and Air and continued by the likes of Cassius, Phoenix and Justice. The dramatic music-hall torch-songs of Edith Piaf have gained new life from the recent Oscar-winning biopic. And the dark cabaret ballads of adopted Frenchman Jacques Brel have been influential on the work of Scott Walker, David Bowie and Nick Cave.

One classic French genre that has slipped out of the international limelight in recent years is the Gallic '60s pop sound. Where British bands of the time seemed tight on uppers and rock n'roll attitude, the music of their French peers has the cool and languid feel of bebop jazz. The drumming is sparse and low in the mix, guitars are clipped, basslines are looser, symphonic strings add je ne sais quoi - and there's an air of liberated playfulness. This was the start of Serge Gainsbourg's golden period: the fantastic singles he wrote for France Gall, Brigitte Bardot and Françoise Hardy, plus his own masterpieces up to 1971's 'Histoire De Melody Nelson' album. You can hear this sound in tracks as diverse as 'Sexy Boy' by Air, 'Veni Vidi Vici' by Katell Keineg, countless songs by Belle And Sebastian and Camera Obscura, and 'Be My Baby', the Vanessa Paradis hit written by Lenny Kravitz.

Diving With AndyWe mention the classic '60s French sound because it's revisited in a wonderful new record by a Parisian band. 'Sugar Sugar' is the second album by Diving With Andy (right), a trio comprising singer Juliette Paquereau and multi-instrumentalists Julien Perraudeau and Rémy Galichet. While there's no killer chorus or earworm hook in any of the songs here, their subtle melodies and arrangements are sufficiently charming to hold your attention from first track to last. In particular, Paquereau's soft croon and tender, thoughtful lyrics are quite lovely. The whole package reminds us of the aforementioned 'Histoire De Melody Nelson'.

Our highlight is 'Merry Dance', a wistful little thing that cleverly expresses barely-suppressed heartbreak and regret with a gently swirling tune and poetic lyrics that play on images of dancing: it begins "Should I ever lead you/My steps would never deceive you". 'Astral Weeks' gets a mention on 'You Don't Have To Cry', a poppier tune loaded with references to England, making mundane placenames like Liverpool and Northampton sound as exotic as they must have done to '60s French fans of imported British pop. (This reminds us that Melody Nelson was from that mystical north-eastern city, Sunderland.)

Listen to songs from 'Sugar Sugar' on Diving With Andy's MySpace page. The title track was a recent single and it's rather lovely too - here's the video:


 

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15
VV Brown 'Travelling Like The Light'
A review of the album "Travelling Like The Light" by VV Brown Review Snapshot: A continually interesting album using older influences in a modern manner, placing VV Brown head-...

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15

Live in Kilkee, Co. Clare, 13th September 2009

Review Snapshot: Due to a tyre puncture on the way back from a surf session in neighbouring Doonbeg, yours truly was unavoidably delayed en route to the evening festivities in Kilkee, arriving in the Big Top just in time to see Stereo MCs walk on stage. Whew!

The Cluas Verdict? 9 out of 10

Full Review:
Stereo MCs: Looking around at the young wans who were waving their hands in the air to dance anthems such as ‘Black Gold’ and ‘Step it Up’ it was sobering to realise that a good proportion of them probably weren’t
born when Stereo MCs released their first album. Once again the crisp, clean and loud sound mix that was a hallmark of this year’s festival proved a boon to the groovy tunes of a group who mix infectious beats with upfront, if stripped down, political statements. The only question was, why schedule them on the Sunday, when so many attendees were heading home for work on the Monday morning, instead of the Saturday night when they would have elevated an already party hearty crowd? Nonetheless, if you stayed around for them, you got yours.

The Zutons: In a nutshell, I loved this band, delivering a razor sharp performance, The Zutons ‘s unique sound nonetheless managed to channel elements of bands as diverse as the The Beatles and The E Street Band. Their note perfect, steam train rock and roll was the perfect end to what was a weekend of great music in a setting that has so much to offer, provided you don’t keep your arse parked on the grass with a pint in your hand. Yes, the Zutons duly played hits such as, ‘Valerie’, ‘Why Won’t You Give Me Your Love?’ and, as a finale, a storming version of, ‘You Will You Won’t’, but to be honest the whole set was a highlight and, yes, Abi Harding was looking particularly fine in a red dress, but it was great to hear four great musicians just go out there and play their socks off, get the crowd involved and turn the Big Top into the sort of party that Bruce Springsteen rhapsodises about. Transcedent.

Rev Jules


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14

Bodhi: If you want the ultimate, you've got to be willing to pay the ultimate price. It's not tragic to die doing what you love. [Point Break, 1991]

Sound Waves is saddened to hear of the untimely death of Patrick Swayze, the Texas born actor, choreographer and dancer who made some of the most iconic  movies of the 1980s and 1990s and who, in the character of Bodhi, embodied a particular kind of surfing archetype; the zen master wave rider who takes a wrong turning in his life onto a road paved with darkness, a classic theme revisted in Tim Winton's recent novel, "Breath"

Although the character of Bodhi was a synthesis, the line of dialogue quoted above and the film's final scene on Bells Beach was clearly inspired by Mark Foo, the famous Hawaiian surfer who died in a freak accident at Mavericks and who was often quoted as saying, "If you want to ride the ultimate wave, you have to be willing to pay the ultimate price"


Although sometimes derided for being melodramatic, 'Point Break' has endured in popular culture and Sound Waves has yet to meet a surfer who is unable to quote memorable lines from the movie. Given the outstanding physicality of Swayze's onscreen performances, it is a cruel irony that his death was caused by a disease that slowly robs patients of their physical well being long before claiming their lives.

Perhaps the most fitting tribute one can pay to this brilliant, yet underrated Hollywood Star is to remember him as he is in that final scene in 'Point Break' standing in his wet suit on the beach in the rain, preparing to paddle out into a giant wave which he knows will take his life in the briefest and most thrilling manner possible.

Australian cop: We'll get him when he comes back in!

Johnny Utah: He's not coming back.

 


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Nuggets from our archive

2000 - 'Rock Criticism: Getting it Right', written by Mark Godfrey. A thought provoking reflection on the art of rock criticism.