Shindig! Broadcast #55

JON ‘MOJO’ MILLS and THOMAS PATTERSON spin two hours worth of tunes, all featured in Shindig! #84


Sky Hawk ‘New Earth’  
Donovan ‘Sunny Goodge Street’
Donovan ‘Jersey Thursday’
Groovy Uncle ‘She’ll Never Be Mine’
The Heliocentrics ‘Capital Of Alone’
The Soundcarriers ‘Lose The Feel’
 The Anita Kerr Singers ‘Wine In The Wind’
Catherine Ribeiro + Alpes ‘Roc Alpin’
Guy Skornik ‘Des Arbres De Fer’
Lovey Dove ‘Bedazzled’
Wax Machine ‘This’
Goblin ’Suspira’
Paul Weller ‘Books’
Honeybus ‘Under The Silent Tree’
Roger James ‘High Into The Sky’
The Guess Who ‘No Time’
Mystic Braves ‘Shades Of Grey’
Mark Sultan ‘Coffin Nails’
The Creation Factory ‘I Don’t Know What To Do’
Rare Earth ‘I Know I’m Losing You’
Fever Tree ’99 And One Half’
The Bit O Sweet ‘Is It On Is It Off’
Matt Berry ‘World In Action’
Strange Majik ‘Tokoyo Timebomb’
Aretha Franklin ‘Niki Hoeky’
Dave Davies ‘Creeping Jean’
The Groundhogs ‘Mistreated’
Man ’Sudden Death’
The Roulettes ‘Junk’
Jacco Gardner ‘Volva’

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David Crosby on Here If You Listen

Poet. Survivor. Living legend. The mighty DAVID CROSBY (Croz) talks to MARTIN RUDDOCK about his excellent new collaborative album Here If You Listen, mortality, singing along with yourself and that “asshole” in The White House…


Shindig!: Your latest album Here If You Listen is your second with The Lighthouse Band (Snarky Puppy’s Michael League, guitarist Becca Stevens, and keyboardist Michelle Willis). Its a collaborative effort.

David Crosby: Yes it is in fact… The first one went down so well. I was so knocked out with what great musicians, great singers, great writers they are. The first one was sort of a “me” album with Michael producing and the girls sang on it and contributed to it. It went so well that I went to all three of them and said “I want to make a group record, I don’t want to make a David Crosby record I want to make a Lighthouse record. I want you to sing lead too, I want us all to write the whole thing together.” And that’s what we did. We went into the studio in Brooklyn and we had two songs… we had Michelle’s ‘Janet’ and we had the one I wrote with (Snarky Puppy pianist) Bill Laurance, that I wrote to my son ‘Your Own Ride’. We wrote the entire rest of the record in eight days together, right there.

 

 

SD!: Throughout your career, you’ve always had a love of making music through jamming and collaboration. Is that how you prefer to work these days?

DC: I’ll work any kind of way. Anything that produces a good song, produces decent music that makes people feel something… I’ll go anywhere, any way. I’ll do it stark naked in the middle of a snowstorm. Anything that will make good art, I’m willing to go through to do.

 

SD!: You’re one of the great songwriters of the last century, but on Here If You Listen you’ve thrown open the writing process to the rest of the band.

DC: Well, they’re such talented people man. Michael League is one of the best writers I know, and Becca Stevens is the same, Michelle the same…

They are unbelievably good writers. The result is this record and the proof is in the pudding. The quality of the songs is really high.

 

SD!: The song ‘Your Own Ride’ is lovely, and features a very poignant lyric addressed to your son, Django.

DC: Yeah, I wrote it about my son and to my son about 10 years ago when he was like 12 years old. And I showed the words to Bill Laurance last year and he thought they were one of my best sets. He asked me if he could work with those words, and he gave me an unbelievably good song back. It’s funny you should ask about him, I’m meeting him here for lunch today in Boston.

SD!: You’ve been making music in so many different ways over the years, you’ve done the band format with The Byrds and CSNY where you’re trying to accommodate other people’s songs or find a space in there. Would it be fair to say you’re more like a jazz bandleader these days?

DC: There’s something in that…. I don’t really feel like a band leader so much. I guess I am in the Sky Trails band more probably than The Lighthouse Band. When I’m with them I tend to feel more like Michael is the leader. He’s a firm and natural bandleader, and he’s a much more knowledgeable musician than I am – so when we work in The Lighthouse Band generally I’m the lead singer but I’m not in charge (laughs). The two girls make damn sure I’m not in charge ‘cause they’re very strong women, both of them.

 

SD!: It seems a very harmonious set-up you’ve got there.

 DC: It is yeah, we’re very very good friends and we really do care about each other. We do respect each other’s work tremendously so there’s a really good work ethic there. If any one of the three of them says something to me man, I’m really listening.

 

 SD!: Two of the songs on the new album ‘1967’ and ‘1974’ have been worked up by you and the band from old demos, how did those come about?

DC: Yes. One of them (‘1967’) is a really magical thing because you can actually hear me writing the song. We actually had the tape machine going while I was thinking up the song. It’s the only time I know of that that exists. You can hear me find the melody, right there on the tape. And then what we did was Michael said “There’s no rules, we can be a time machine, and take them right up to now and complete them.” And I said “Jeez, could we? It would be fun, there’s no law saying we can’t.” Michael and the girls said “Aw c’mon, let us at it!” and the result is what you heard. We wrote words to one of them and we completed the other. I think it’s fantastic that there’s a tape of a thing all the way from the first moment that you think the melody up. And it’s all there, the whole thing on tape.

SD!: Were you still in The Byrds when you recorded that demo or was it just after?

DC: I think it was right after, yeah.

Read more David Crosby on Here If You Listen

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More Kicks ‘It’s A Drag’

New young London powerpoppers who impress with high energy levels and maximum tunes


More Kicks formed at the end of 2017. Since then, they’ve appeared at gigs, club nights and festivals across London as well hopping over to Germany for their first tour overseas.

“It’s been interesting to me what people think we sound like,” says singer/guitarist Sulli (James Sullivan). “It’s always a bit worrying when people come up to you and say ‘You know who you remind me of?’ and then reel off some terrible bands. But we’ve had The Nerves, The Knack, Supergrass, Beatles, Buzzcocks, Undertones, Star Spangles. I think my favourite one was The Turtles played by The Boys – that’s a pretty weird and specific mix! Read more More Kicks ‘It’s A Drag’

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Let Me Whisper In Your Ear – Big Star’s advocates

CAMILLA AISA surveys, and compiles a playlist of, the ladies and gentlemen who made it all so probable for us to rediscover Chris Bell, Alex Chilton and Big Star


 

 

 

 

 

 

 

 

BIG STAR
I Am the Cosmos (live) (Chilton, Stephens, Posies)
Recorded live in a Chicago Summer night, back in 1994 when second-era Big Star was made of Alex Chilton, Jody Stephens and Posies Jon Auer and Ken Stringfellow. A rousing cover of Chris Bell’s only solo single, with Chilton paying homage to the McCartney to his Lennon (or viceversa, depends on where you’re standing). Consider this, and you’ll find that there’s something intensely moving about hearing him sing “I’d really like to see you again”.

 

 

 

 

 

 

 

 

TOMMY KEENE
Nighttime 
Talking about emotional situations triggered by great songs, for us proud fan(atic)s it rarely gets more gripping than this: cult heroes of reclaimed powerpop glory honouring one another. Here the late Tommy Keene reaches into the Third material and finds ‘Nighttime’. As he proceeds with his earnest cover, he’s gently reminding us all why, deep down, we’ll always stubbornly think of guitar strumming as the most poetic act a human being is capable of.

 

 

 

 

 

 

 

 

SQUIRE
September Gurls 
The Radio City gem is not only a fan favourite but a peer favourite, too. The Searchers recorded ‘September Gurls’ for the second of their acclaimed comeback albums, 1981’s Love’s Melodies, while five years later The Bangles would welcome the Big Star classic into a world of indebted jangle pop and eager new wave (and the song would also prove irresistible to fellow nostalgics Absolute Grey). Meanwhile, in the UK mod revivalists Squire released it as a single in 1984. Listening back to all these tales of December boys and desired girls a pattern is made clear: all covers are inescapably reverent. And yes, it almost makes you want to complain about lack of imagination. But then think about the original for a moment…who would change a thing of perfection?

 

 

 

 

 

 

 

 

TEENAGE FANCLUB
Free Again 
This is not the clever rework some might expect. This is, quite simply, what it sounds like to pick up some instruments and play an Alex Chilton song: a blast. Back in 1992, the Teenage Fanclub guys already knew it better than anybody else. Norman Blake would later explain: “I think Alex saw something of himself in us, in our attitude and approach to making music. I think he passed it on to us and we’ve passed it on to another group of musicians. Alex was definitely a kindred spirit of ours.” So much so that Free Again could easily pass for a Fannies original. Read more Let Me Whisper In Your Ear – Big Star’s advocates

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