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Girl Ray – Earl Grey


Girl Ray – Earl Grey

Posted on 19 August 2017 by Dorian

One of my favourite records is Vampire Can Mating Oven by Camper Van Beethoven. Other than great songs it also has a title that looks like an anagram of the band’s name, but clearly isn’t. Earl Grey by Girl Ray does the same thing, and that appeals to me (probably more than it should). Thankfully this debut release is a fantastic album, one of the best I’ve heard this year, and I don’t need to appreciate it on the strength of the title alone.

Girl Ray - Earl Grey

‘Just Like That’ is one of those great album openers. It starts pleasantly enough before drilling itself into your brain with every melodic twist and turn. On the first few listens to the album I skipped back to this track multiple times before continuing, putting a full listen in jeopardy.

As a regular 6 Music listener I’d heard a number of the tracks before, but in the context of the album they sound even better. There is a real subtlety to the music, and that makes the quirks of the arrangements and the musical flourishes that much more surprising and pleasing. The vocals, in particular, are deceptive. On first listen they are distinctive, despite their lack of showiness, but the more you listen the more the harmonies and inflexions impress.

The most obvious counter-point musically is Gorkys, and that almost-pastoral edge is a cornerstone of the sound here. There is much more on show though, with the (welcome in this case) spectre of prog rearing its head. On the wonderful ‘Cutting Shapes’ we get Pink Floyd drums, Brian Auger keyboards and even some squealing guitar making an appearance. Other unexpected musical influences unfold on the album, a direct musical reference to Todd Rundgren’s ‘I Saw The Light’ (on the intro to ‘Stupid Things’)  being my personal favourite.

One of the things I love about this band is that they are producing quiet, subtle songs and through this low-key approach they have the room to demonstrate a real dynamic range. This is best demonstrated on the title track ‘Earl Grey (Stuck In A Groove)’ which  builds, grows and moves across 13 minutes of playing time. A gorgeous vocal central section giving way to increasing instrumentation that builds to (what can only be called) a free jazz odyssey before drawing back to the vocals again.

My one (small) criticism of the album is the song sequence, something that seems a quaint concern on the age of the playlist. The aforementioned title track is such an epic song that it makes the following songs (as good as they are) seem a bit ordinary in comparison. I’d have personally preferred this track as the album closer, it is so good that it should be the last thing in the listener’s memory. It makes more sense on vinyl, however, with this song opening side 2, and on that basis I’ve already talked myself out of this (already small) criticism.

I’d be surprised if I’ve heard many (or any) better debuts before the year is out, and it would be an exceptionally good year if this didn’t make my personal top 10. So it is still to be decided where this will figure in the best of 2017 chart, but it is a dead cert for the album title of the year award at least.


By Dorian Rogers


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Top 20 Albums of 2017 – Part Two

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Top 20 Albums of 2017 – Part Two

Posted on 20 December 2017 by Joe

Welcome to the second part of our end of year round up of the best albums 2017. This latest instalment reveals who has earned a coveted place in our top ten. The first part (20-11) can be found here

10. The Magnetic Fields – 50 Song Memoir

Magnetic Fields 50 Song Memoir

In which Stephin Merritt celebrates his 50th birthday by writing an auto-biographical song for each year since his birth. The results are pretty great and it is his best hit-rate since 69 Love Songs in 1999. Sprawling concept albums clearly suit him.

9. Guided By Voices – August By Cake

Guided By Voices

This 32 track double album is the 100th album that GBV frontman Robert Pollard has released. It is also the first album released with the latest Guided By Voices line-up, which brings Doug Gillard’s guitar skills back to the fold. Every band member gets some songs on this one, and the results are typically uneven in excellent GBV fashion.

8. King Gizzard and the Lizard Wizard – Polygondwanaland


Perhaps the only act that can compete with Robert Pollard’s production rate is Australian psychedelic rock outfit King Gizzard and the Lizard Wizard. They set themselves the ambitious task of releasing five albums this year, with a fifth due to be released “very very late in the year” according to frontman Stu Mackenzie.

Of the four released so far this is our favourite for our best albums 2017 list – full of prog rock/jazz treats like 10 minute opener Crumbing Castle and psyche pop gems such as Deserted Dunes Welcome Weary Feet. And what’s more it is available as a free download.

7. Mile Me Deaf – Alien Age


Sound the breakthough album klaxon. Wolfgang Möstl’s Mile Me Deaf act  has always been experimental but they are on the cusp of the big time on the basis of this Best album 2017 release

On previous album’s he’s been looking to push the boundaries of indie rock and guitar pop. Here he’s pushed, then smashed his way past them, veering off into trip hop, dub, jazz, and ambient. Above all, as XTC once proudly sang, This is Pop. Lead single Blowout is a great jumping in point for this entry into our Best albums 2017 list . Read our full review here.

6. The Flaming Lips – Oczy Mlody


This is best Lips release since they unleashed Yoshimi on those evil bastard pink robots during their last pop phase. After the mildly entertaining albums Terror and the awful Embyronic, Wayne Coyne and co have gone accessible again, with new classics such as How?? and There Should Be Unicorns among their best ever. Read our full review here.

5. Girl Ray – Earl Grey

Girl Ray - Earl Grey

We are delighted to include this impressive debut from Girl Ray, a quirky lo-fi pop trio from North London. This will particularly appeal to fans for Gorky’s Zygotic Mynci with Don’t Go Back at Ten among our favorites. Read our full review here.

4. LCD Soundsystem – American Dream

LCD Soundsystem

The LCD Soundsystem split didn’t last too long, and this album is a high-quality return by the band to recording. The sound is unmistakably LCD Soundsystem (even down to the usual influences) and there are a few playful tracks among some slightly sombre numbers. This is a welcome entry into our best albums 2017 top ten.

3. Robyn Hitchcock – Robyn Hitchcock


It’s taken 21 albums but Robyn Hitchcock has finally gone down the self-titled route for a release, which by happy coincidence just happens to be one of his best in years.

From its purple, cat stroking, cover to its backwards guitars, it is a psychedelic explosion of awesomeness, with oodles of noodles of nods to the late 1960s and early 1970s.

The twinkling, shiny pop of Mad Shelley’s Letterbox is a particular highlight. Read our full review here.

2. Broken Social Scene – Hug of Thunder


Just like the Flaming Lips, the almighty Canadian collective of Broken Social Scene also saw a return to form in 2017. The return of Leslie Feist to the line up takes them back to their early hey-day, especially with her jaw droppingly awesome vocals on the title track.

New member Ariel Engle, who takes lead vocal duties on Stay Happy, is another impressive addition. While Halfway Home is A fantastic alternative rock anthem that shows just how good this album is within their already prolific two decade spanning back catalogue.

1. Eyelids – OR

Eyelids Or

Featuring members of the Decemberists, Guided by Voices and Stephen Malkmus’ Jicks, Eyelids have leapt to the top of our list thanks to their sweet, jangly melodies on tracks such as Falling Eyes.

This second release from the band also adds ex-REM man Peter Buck into the mix as producer to give it extra class and a 1980s alternative rock feel. A triumph and deserved number one album in our best albums 2017 list. Read our full review here.

Compiled by Joe Lepper and Dorian Rogers


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Sixteen of the Best Songs of 2016

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Sixteen of the Best Songs of 2016

Posted on 29 December 2016 by Dorian

We recently published our Top 20 Albums of 2016, but this only reflected a section of the amazing songs that came out this year.  There were great albums we missed, albums that just missed out and songs that came out on single this year. So, as a bit of an end of year bonus, here are the best songs of 2016 that didn’t feature in our end of year album list.

16. ESP Ohio – Royal Cyclopean

It wouldn’t be Neon Filler without a Robert Pollard track, and this horn driven gem from his latest collaboration with Doug Gillard is one of his best this year.

15. The Wedding Present – Rachel

There are rumours that this year’s Wedding Present album may be there last, if that is the case then they are finishing on something of a high.

14. Childish Bambino – Me and Your Mama

Donald Glover is a successful comic actor, the face of the young Lando Calrissian and a Grammy award-winning singer, sickeningly talented.

13. The Shins – Dead Alive

The Shins releasing a song that sounds like they could have recorded 15 years ago may not seem that exciting, unless you think early Shins is about as good as music gets. Which I do.

12. Allo Darlin’ – Hymn on the 45

Allo Darlin’ sadly called in at day in 2016, but just as they played their final shows they released one last single. A final document, if nothing else, of why they’ll be missed.

11. Car Seat Headrest – Drunk Drivers/Killer Whales

Car Seat Headrest is the work of Will Toledo, this year’s bespectacled indie geek de jour. The album justifies the hype this time around.

10. The Avalanches – Subways

The new Avalanches album may not be much of a step forward given the huge gap between this and their debut recording, but there were enough good songs to make it worth a listen.

9. Parquet Courts – Human Performance

The New York band have been releasing consistently great music since they broke through with Light Up Gold in 2012. The title track from their latest album shows them in almost subdued mode.

8. Angel Olsen – Shut Up and Kiss Me

2016 was a bit of a breakthrough year for Angel Olsen, her 4th LP getting a lot of attention and radio play. This track showcases as much fuzz-pop as folk and is a bit of a break from the softer country vibe she’s associated with.

7. Case/Lang/Veirs – Best Kept Secret

Three of the best vocalists in country-pop come together and, unsurprisingly, the results are great.

6. Okkervil River – Judy on the Street

Every two or three years Will Sheff’s band release an album and they all range from good to excellent. This track from Away is no exception to the rule.

5. Teenage Fanclub – Thin Air

More than a quarter if a century in and Teenage Fanclub can still produce some of the best melodic guitar pop around.

4. Girl Ray – Trouble

One of the best bands that we saw at Indietracks this year and one of the bands to watch out for in 2017.

3. Field Music – Disappointed

Due to its release at a busy time we sadly didn’t get round to reviewing Field Music’s excellent 2016 album Commontime. We still loved it though and can assure you it was a typically excellent release from the Brewis brothers. This was a single and one of the best tracks.

2. Luke Haines – Smash The System

Smash The System saw Haines revisit some of his previous themes, with a number of nods to his Baader Meinhof album. The Monkees references in this song are confusing but welcome.

1. Eyelids – Slow It Goes

Eyelids didn’t have a new album out in 2016, that is coming next year, but they did release this song and showcased what we can look forward to. Excellent video as well.

Compiled by Dorian Rogers


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Indietracks Festival 2016

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Indietracks Festival 2016

Posted on 20 August 2016 by Dorian


As with our last trip to Indietracks we underappreciated the length of the journey from the south coast up to Derbyshire. Traffic jams for most of the route meant that by the time we’d pitched tent and set up for the evening that we’d already missed one of the three acts playing on the first evening.


Simon Love was in full flow at Indietracks Festival 2016 when we arrived on site, in the midst of a set heavy on tracks from his most recent album. Love does seem a little distracted, but puts on a  good show replete in white suit shirt and tie. It’s an irreverent, fun, and slightly shambolic set to start the weekend.

Simon Love

Simon Love

The Spook School have established themselves as Indietracks’ stalwarts since I first saw them play way back in 2012. They are as engaging as ever, although the many distractions of the site see me moving from shed to train to bar and back during their set. They’re an intriguing band with a lot to say, quietly spoken between songs and outspoken within them. Although they’re sound is primarily spiky pop punk there is a real variety to the mood. Some songs are really pretty downbeat, but that doesn’t stop them playing ‘The Vengabus is Coming’ as an encore.

Spook School

Spook School


The first full day starts wearily; we camped far too close to the disco tent. Sleeping through a rowdy singalong of ‘The Hymn for the Cigarettes’ isn’t possible. A midday walk around the site followed by an invigorating ride on the miniature railway sweeps some of the cobwebs away.


Dirtygirl start things off in an “interesting” way, they are pretty ramshackle and don’t seem quite ready. There is a rawness to the band that I appreciate and an honesty to their songs, it isn’t for me. Vaccaciones from Spain are more like it, but also pretty ramshackle I have no idea what they are singing about but I like the sound of it and their senthusiasm seems to drag some sun from between the clouds.

In the Church Wintergreen get an immediate few marks on the obscure instrument bingo-sheet by having an Autoharp and harmonium on show. The bands start is delayed by a lot of tweaking to their set-up, and more endearingly by their violin player still being on the train. Indeed with harmonium and melodic also on the stage they are close to a full house. The band sound pretty good and remind me of a more classically English Efterklang. The only problem is that even with the extended set-up they don’t seem t be able to get the sound set-up quite right. The set breaks down half way through and the band do start to lose the audience a little. One to revisit on record I think.


Emma Pollock on the other hand gets the sound rust right for her early evening set. The songs from her excellent new album, In Search of Harperfield, sound appropriately punchier live and it proves to be one of the sets of the weekend. Great songs and years of live experience prove to be the magic combination here.

Emma Pollock

Emma Pollock

Although Saint Etienne are the official headliners it is obvious that The Lovely Eggs are the band that the Indietracks crowd want to see most. The crowd is huge and rightly enthusiastic about the duo’s set, They play a nicely dirty take on indie pop punk and the audience goes wild.

Lovely Eggs

The Lovely Eggs

Even though the outdoor crowd is always a bit less rowdy than they are in the train shed, they seem pretty excited about Saint Etienne. They play a pretty great set high on hits, a well chosen selection of album tracks and not too many new songs. There is a lot of comfortable cosiness about them these days, but they are still a pretty great pop band and a fitting end to the day.

Saint Etienne

Saint Etienne


Due to the unusually dry weather Indietracks 2016 for me is all be about the open air. So after a brief watch of City Yelps we head out again to get a seat on the grass for Witching Waves. The band play a fairly typical indie punk set, but there is thing wrong with that. They have some really good tunes and their on-stage nervousness is endearing. Wanderlust hits again halfway through the set though as we head for our (only) train based gig. Sadly we don’t get to see the band as some people (cheats!) were already on board and it fills up sooner than promised. Our photographer did get a place so he enjoyed Gavin Osborn and the rest of us had a pleasant train ride. The report came back that he was pretty brilliant, so one to catch in the future.

Gavin Osborn

Gavin Osborn

The Charlie Tipper Conspiracy have nice instrumentation and arrangements but a tendency to be rather dreary, a lot of which is down to the slightly flat vocal style. We go to watch Girl Ray as part of a rare venture indoors and well worth it. Tuneful vocals and catchy tunes are what I’m looking for and they deliver that perfectly.

Back in our place on the grass Haiku Salut seem perfect in the late afternoon and have a very strong sound. The second time Efterklang have come to mind this weekend, plus a bit of the Yann Tierson thrown in. No festival singalongs here but some very beautiful atmospheric music (Possibly the prize for most instrument changes also).

Darren Hayman arrives on stage in power trio format and takes no time to pillory Bill Botting for forgetting a bass strap. It is a well structured festival set and Hefner make an appearance as early as song 2. It is beautiful stuff with a number of recent songs from the  Thankful Villages and Chants for Socialists albums. A sore throat seems to cause Hayman a few problems but performing ‘The Hymn For The Cigarettes’ as the last song shows he knows how to play a festival.

Darren Hayman

Darren Hayman

I remember Comet Gain but don’t really remember their music, and noting in their set sounds familiar to me. I really like the overall sound, but I struggle to really get into the set without any familiar reference points.

Comet Gain

Comet Gain

Watching the last steamroller can crush of the weekend and stroking the tiny owl do mean arriving late for The Aislers Set. They’re another band I know little of, but I can tell they are a band I would have loved if I had discovered them first time around. It would have been nice to have had a band I was a fan of finishing the weekend, and you can’t fake that feeling.  But on the night they sound pretty great and seem like a pretty decent Indietracks finale.

The Aislers Set

The Aislers Set

So ten down and hopefully many more to come. There is nothing quite like Indietracks and it still holds the prize for being the friendliest and most relaxed musical event of the year.

Words: Dorian Rogers | Pictures: Nic Newman


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Green Man Festival 2018 – Psychedelic awesomeness

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Green Man Festival 2018 – Psychedelic awesomeness

Posted on 23 August 2018 by John Haylock

Our big green friend, the Green Man Festival, never disappoints and once again provides one of the best festival weekends this side of Pluto.

As always the depth and quality of performances was magnificent, with nary a dud in evidence. The oh-so unpredictable Welsh weather remained the right side of sub-Arctic, and on more than one occasion I spotted people applying sun tan lotion. Yes, suntan lotion! Not something I can remember ever seeing in Wales before.


Arriving with the dawn on the Friday via a breakfast at Waitrose in Abergavenny, we threw ourselves into putting up a tent badly.

This done we were lured by The Lovely Eggs up at the Far Out marquee and were greeted by some very lively punk action. Guitarist Holly was great, playing speedy tunes and throwing shapes. Despite the garish yellow tights she looked and sounded like a star. The crowd loved them.

The lovely eggs

The Lovely Eggs

An hour later The Lemon Twigs played Beatlesque slacker pop to an enthusiastic crowd. They certainly won me over but by then whiskey had been taken, so they could have been rubbish, who knows ? Nice vibes, I think.

The best at the Green Man Festival on Friday was a superb set from Joan as Policewoman. A small woman with big talent,  blessed with a multi octave voice that transports you to heaven via Bonnie Tyler’s chip shop in Crickhowell. Her band was super tight, soulful and classy, and what did she do as an encore? Only bloomin’ well Kiss by Prince. Utterly sublime and it’s not even teatime.

Joan as Policewoman

Joan as Policewoman

The  Green Man Festival layout is great. It’s not too big although there did seem to be larger numbers of people here this year, which was slightly disconcerting. You don’t expect the Walled Garden to be rammed mid-afternoon listening to obscure Australian folk singers.

In the past there was always room to collapse in a semi-catatonic heap next to a rubbish bin and not get your head trodden on.

Next up was a look at the Green Man Rising emerging talent competition, to sample the delights of fresh new blood. They don’t get any fresher (or madder) than Gentle Stranger.

Gentle Stranger

Gentle Stranger

The compere said they were like the bastard sons of Ian Curtis and Talking Heads, which is rubbish. In fact, they were more like the bastard offspring of the Mothers of Invention and a small white sliced loaf.
Among Gentle Stranger’s line up was a drummer who also played oboe and looked like he should be at a Metallica covers band audition. A skinny bassist in awful make up laying on his back holding his bass guitar with his feet whilst applying hair gel. They also featured a topless hairy bloke with braids in a blue midi skirt and hobnail boots playing guitar and blowing on things. Totally fantastic.

The Hungry Ghosts

The Hungry Ghosts

Were also impressed by the dirty, rock ‘n’ roll filth of The Hungry Ghosts from Birmingham. Then had to administer self flagellation for missing Snail Mail, which shows the depth of talent at this year’s Green Man Festival.

Back at the main stage it was time for  headliners King Gizzard and the Lizard Wizard. The Australian psychedelic rockers have inexplicably become hip. Their lengthy guitar work outs, nimble ensemble playing and nicely complimented vocals went down well. But I failed to achieve orgasm, unlike the other five thousand other folk in the crowd. Mind you their 2016 track Rattlesnake was groovy.

King Gizzard and the Lizard Wizard

King Gizzard and the Lizard Wizard

Time to party until the late hours, 11:55pm in our case. We were knackered.


We awoke to no rain, at all, not even drizzle, remarkable.

After a dodgy dinner the Walled Garden played hosts to Goat Girl who seem more popular than The Beatles. The place was full, and quite rightly as they did their no nonsense pop-lite thang.

A duo under the name of Ider did it for me. Poppy niceness to the fore. They should be pop stars tomorrow with their nice bouncy tune and big singy choruses.

Baxter Dury

Baxter Dury

Happiness achieved but  had to curtail my enjoyment to rush over to the main stage to catch the late Ian Dury’s son (thats him on the cover of new boots and panties), Baxter Dury.  Top notch swearing and funky jams predominated the proceedings. He seemed slightly aggrieved but was all the better for it. A riveting set.

The evening then turned into a cosmic trip with a visit down memory lane with the ever dependable Teenage Fanclub.Boy Azooga, despite a hesitant start, won in extra time but then it was time for John Grant.

If you know Grant, you’ll know he was inevitably superb and if you’re unfamiliar with him then where have you been for the last few years?

It’s been heartening to witness  him graduate from touring half full pubs with Midlake five years ago to thrilling eight thousand people in a Welsh field on a nippy night.

John Grant

John Grant

Such is his charm and self-depricating wit that he can make these intimate, lyrically subversive songs work even on a grand scale.

They don’t get grander than Queen of Denmark which tonight is bombast incarnate, yet there is so much more to his music. You have the whimsy Marz. The electro incisiveness of Black Belt and Pale Green Ghosts. The beautiful Glacier and even an almost hit-single singalong GMF.

I asked Grant before he went on to sign a Barry Gibb and Barbara Streisand album. He laughed, signed it and then asked him to do a Bee Gees number. He said he’d think about it but sadly it didn’t happen [what an anecdote that wasn’t].

This Green Man Festival gig was one of the last times you’ll hear this material for a long time, he admitted. It’s new stuff from now on in , and personally I can’t wait to see where he’s going to go next. It is certain to be intriguing.

One of the absolute standouts of the entire weekend was an appearance by Simian Mobile Disco, performing with Green Man Festival regulars Deep Throat Choir.

This was an aural massage the likes of which will live long in the memory of those who witnessed this performance. The two guys within  their jumble of leads, decks, cables , laptops and other magical devices (probably stolen from magic pixies on a night with a full moon), delivered the most deliriously sublime set. Murmerations was performed in its entirety. The choir building up tension as waves of beautiful sound crashed like waves of pure love over our collective heads. I forgot the number of people I spoke to  the next day who thought it was astonishing.

Two hours later and we’ve still not got back to the tent. There were a few distractions. Impromptu Aretha Franklin singalongs, a cocktail bar, a merman and a mermaid, an art installation that was just some lights outside the toilets and a chat with a bloke dressed as a bacofoil deep sea diver thankfully was all I can remember.


Sunday and your despicable soundchecks from War on drugs. I’d only been asleep three hours, still we are veterans after all and by 10 o’clock we were asleep again.

First band on at the Mountain Stage at dinnertime were the new project featuring Simon Raymonde from the Cocteau Twins, called Lost Horizons.

Black Angels

Black Angels

They excel at atmospheric gritty soundscapes with vocal contributions by the bassist, the keyboardist and especially their very expressive lead singer.  A very good way to start the day.

Such is the current vogue for glamping we found an area where you can sit in a hot tub and be served champagne. We were quite rightly immediately ejected.

We tried to enjoy Anna Calvi. But I appeared to be sitting next to the Abergavenny under-fives acrobatic team. It was difficult to concentrate but she was good and the version of Don’t Beat the Girl Out of My Boy was stunning. As was the encore  – a cover of Ghost Rider in the Sky from Suicides’ debut album.

An evening of dark intense brooding rock ‘n’ roll at the Green Man Festival followed. First up Chilean trio Follakzoid who put in an unbelievable performance.

They only did two songs, the first was 25 minutes long, the second 20 minutes and that was only shorter because their enigmatic guitar shaman Domingo Garcia got increasingly angry over the mixing desks inability to hit maximum volume on his monitors. He pulled over the speakers and flounced off in a Chilean huff. After five minutes he came back on due to public demand and finished off the set.

It was great to watch as he played about with his pedals and various fuzz boxes. Then he’s doing the dance of the seven veils and swinging the guitar round his neck as it squeals its protests.

This was in the Far Out tent as were the three remaining acts we saw.

Rolling Blackouts Coastal Fever

Rolling Blackouts Coastal Fever

Rolling Blackouts Coastal  Fever from Australia recalled fellow brethren The Triffids, with some great guitar interplay and punchy tunes.

But the  best was to come. The Black Angels were relentless –  a fucked up marathon boogie  kept in the air by non stop drumming from Stephanie Bailey, the likes of which I haven’t witnessed for years. The woman is a machine built of steel and unsmiling stamina. It was like the Velvet Underground but with better tunes.

The icing on the  psychedelic cake of this year’s Green Man Festival was an appearance by the Brian Jonestown Massacre. Imagine the aroma of late 1980s Primal Scream inhaled from a pipe of Exile on Main Street. Loose but tight. Rough but nice. Good cop, bad cop but mostly bad cop. Oh man, this is my rock ‘n’ roll.

Brian Jonestown Massacre

Brian Jonestown Massacre

I am unable to describe any further events of that Sunday night as I appear to have run out of superlatives.

Not one bad band or performer at Green Man Festival all weekend. No hassle and no downsides, apart from the small matter of missing the Wedding Present, Tom Wrigglesworth, War on Drugs, Public Service Broadcasting, Kelly Lee Owens, Phil Wang and Teleman.

This festival spoils you every time and you have to make choices.

I choose Greenman.

Words by John Haylock, pictures by Arthur Hughes


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Top 20 albums 2017 – Part One

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Top 20 albums 2017 – Part One

Posted on 13 December 2017 by Joe

Welcome to the first part of our end of year round up of the top 20 best albums 2017. In keeping with our ethos of promoting new and diverse music our list contains a raft of independent artists.

Keep checking back over the next few days when we will be revealing who has made it into the Top 10 of our list of  best albums 2017.

20. El Goodo – By Order of the Moose


Welsh psychedelic act El Goodo spent eight years making this pop gem, which puts their own distinct slant on the US garage music scene of the late 1960s.

There’s a cinematic quality too. This makes it sound at times like a cross between a Spaghetti Western soundtrack and the Oompa-loompa songs from Willy Wonka and the Chocolate Factory (the good version with Gene Wilder, that is). It Makes Me Wonder is among many high points. A worthy inclusion in our best albums 2017 list.

19. Warm Digits – Wireless World


Newcastle duo Andrew Hodson and Steve Jefferis’ third Warm Digits album is an electro gem for 2017. Here they team up with a host of guest stars to showcase their squelchy synth music.

Peter Brewis from their Memphis Industries label mates Field Music excels on End Time. So too does St Etienne’s Sarah Cracknell on Growth of Raindrops.

18. Nick Parker – Besta Venya


This third album from Somerset singer-songwriter Nick Parker blends the two sides of his live shows perfectly, from upbeat, crowd pleasers, such as Down With the Yoof, to poignant numbers such as Guess I’ll Never Know.

The Other Half at the end of this 12 song collection even takes him to Beatles territory, complete with flugal horn. Read our full review here.

17. Granite Shore – Suspended Second


With Brexit approaching we could perhaps all do with listening to this second album from Granite Shore – the musical project of Nick Halliwell, who runs Exeter based label Occultation Records. Here all our fears of the unknown, the anger (well for remainers at least) of the decision and sense of hopelessness are laid bare.

His savviest move though is to channel these emotions through smart 1970s inspired pop, with legendary singer songwriter John Howard bringing added class with backing vocals and piano on tracks such as Buyer Beware and Where does the sadness come from? . Read our full review here.

16. Ralegh Long – Upwards of Summer

ralegh long

On his second album singer-songwriter UK based Ralegh Long has looked to his early inspirations of 80s/90s college indie rock to produce a decidedly more upbeat affair than his debut Hoverance.

Gone are the pastoral folk subtleties of that first album to be replaced by jangly guitars, smart pop hooks and euphoric choruses, such as on Take Your Mind Back. This best albums 2017 entrant has impressed others too, with the album scooping this year’s HMUK and Pledge Music Emerging Artists Award. Read our full review here.

15. Fazerdaze – Morningside


New Zealand’s Amelia Murray (aka Fazerdaze) emerged as one of the best breakthrough acts of 2017 thanks to this highly impressive debut. While it relies heavily on the C86 indie scene for influence it sounds thoroughly modern.

Signed to New Zealand’s esteemed Flying Nun Records label, she played a raft of gigs in the UK this year to promote this May release, which features highlights such as Lucky Girl.

14. Co-Pilgrim – Moon Lagoon


Mike Gale’s Hampshire and Oxfordshire based band Co-pilgrim has been releasing smart melancholic pop albums for years now, always impressing us. Here he’s dusted off his distortion pedal for a first half of belting 90s US college rock tracks. This includes Turn It Around and You’ll Look Pretty As A Picture….When The Acid Rain Hits Ya.

He then shrinks back into the shadows for a second half of introspection and poignancy. Every home needs at least one Co-Pilgrim album.  This is a great place to dive in to Gale’s world. Read our full review here.

13. The Mountain Goats – Goths


Goths get The Mountain Goats treatment in 2017, with singer-songwriter John Darnielle telling tales from the subculture, daringly with a lounge, jazz feel, complete with sumptuous Fender Rhodes keyboards. Gene Loves Jezebel’s footnote in music history on Abandoned Flesh is among man high points.

Meanwhile, Yorkshire’s provincial Goth hot spots are given an ode on Andew Eldritch is Moving Back to Leeds, as Darnielle cements his role as America’s best story teller in song. Read our full review here.

12. Android Angel – The Hissing and the Hum


Since he sent us the debut EP from his band Free Swim back in 2010 Paul Coltofeanu has never let us down. Time and again across Free Swim’s funny and perfectly executed pop he has impressed.

Here, in his other guise The Android Angel he excels again, blending club sounds, soundtrack rock and whimsical pop perfectly on tracks such as Cloudless Sky and West Wind.

11. The New Pornographers – Whiteout Conditions

The New Pornographers - Whiteout Conditions

Even with a stronger focus on synths, and the disappointing lack of Dan Bejar, this is unmistakable as a New Pornographers record. The tunes are as strong as ever.

There’s also a couple of “should have been a top 10 hit” singles among them, including High Ticket Attractions. A.C Newman is in fine voice and with the vocal support of Neko Case and Kathryn Calder it sounds pretty great throughout.

Coming soon: Best albums 2017 Top 10.

Compiled by Joe Lepper and Dorian Rogers


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The Dears – Leeds Brudenell Social Club (February 26, 2017)

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The Dears – Leeds Brudenell Social Club (February 26, 2017)

Posted on 28 February 2017 by John Haylock

The last time I saw The Dears, inflatable breasted page three girl Jordan was in an indifferent public battle with Gina G for the chance to represent the UK in Eurovision, Prince Charles had announced his intention to marry the very beautiful Specsavers model Camilla Parker Bowling Green and small sweary Eminem was number one with Like Toy Soldiers.

The Dears

The Dears

That was what seems like an eternity ago, but was in fact February 2005 to be precise and somehow our paths have long since diverged. They were promoting the No Cities Left album back then, which promised much but criminally failed to garner public attention. Dears one, fickle useless public nil.

What a pleasant surprise then to see that this fine Montreal based ensemble led by husband and wife Murray Lightburn and Natalia Yanchak are still creating epic and grandiose soundscapes.

The Brudenell in Leeds is a strange venue, part wheeltappers and shunters club, part mini 02 Arena. With a pizza wagon in the car park it is the Ritz of the North.

As support bands go Plants and Animals were magnificent. They won everybody over with their twisting, turning urgent popscapes. Coming out of Halifax Nova Scotia via The Dears birthplace Montreal they inhabit a similar musical world, full of restless inventive song structures with subtle melodic undertones. With a focus on tracks from their most recent album, Waltzed in from the Rumbling, their all too brief set was a fiery precursor to tonight’s main course.

Opening with one of the highlights from the new album (Times Infinity Vol 1) The Dears plummet head first into We Lost Everything and I Used To Pray for the Heavens to Fall. It is akin to falling into an abyss of sound, with chiming guitars and the impassioned vocals of Lightburn hypnotising and disorienting the listener into submission. It is a joyous surrender and something they do time and again throughout the evening. As the vocals get more desperate, the guitars get heavier, the mood darkens before exploding, subsiding and emerging triumphant on the other side.

The Dears' Natalia Yanchak

The Dears’ Natalia Yanchak

This new album really is a grower and they continue with the haunting Face of Horrors, another wonderful addition to their oeuvre.

At one point Murray is to be found amid the crowd roaring his heart out like a caged rock and roll tiger. There’s no half measures with this guy, who is two parts Otis Redding, one part Kurt Cobain.

Then it is Natalia’s chance to destroy your heart, from behind her trusty Roland keyboard she sings lead on a desolate and pessimistic new number called Onward and Downward. The chorus of which goes as follows ‘in the end we’ll die alone’. Yes, I think they’ve been listening to Joy Division again. But it is delivered so beautifully as to render it heartbreaking.

The songs spew out thick and fast. Whites only party, Hate Then Love, and a tremendous version of There Goes my Outfit from Gang of Losers.

5 chords is resurrected from Degeneration Street and they even stretch back to No Cities Left with Who Are You Defenders of the Universe.

I was trying to pinpoint their sound for the uninitiated, and was going to suggest Pixies meet Elbow. But no, that is bollocks, that is not right. For the life of me I can’t think of a suitable comparison. The Dears are so individual I can’t think of anyone who sounds anything like them.

After the gut wrenching Onward, the band leave the stage and Murray goes all acoustic on us, with A Reading of the Second Part.

This comes as a welcome breather before they go stratospheric with the 22 Death of All the Romance.

Love The Dears, times infinity.

Words by John Haylock, pictures by Arthur Hughes


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Best of 2015 Albums – The Ones That Got Away

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Best of 2015 Albums – The Ones That Got Away

Posted on 26 January 2016 by Joe

Like many music blogs the work we do reviewing albums and writing features is a labour of love, rather than a source of income. Sometimes though this means planned reviews of albums don’t get written up as life gets in the way. This happened towards the tail end of last year, a busy time with family matters and the day job.

With a bit of time in January we thought, better late than never, we’ll get some brief reviews up of our quartet of Best of 2015 Albums that escaped us at the time

The Everlasting Yeah – Anima Rising



Formed from the UK based members of That Petrol Emotion, this debut is a true hidden gem. On a first casual listen some of the tracks, like opener A Little Bit of Uh-huh and All Around the World its full of some standard Rolling Stones or Primal Scream rock riffs. But then the layers of guitar music begin to shine through and a far more sophisticated beast than the tired, old rock of Gillespie and co becomes apparent. This is perhaps best heard on Take That Damn Train Again, which is elevated way beyond standard rock fare with the addition of Gallon Drunk’s Terry Edwards and his marvellously insane saxophone playing.

The ‘slowie’ Everything is Beautiful is among our highlights and the sort of track we’d like to hear more from on future releases. There’s some lovely guitar work here and this track has the best melody on the album and reminded us a little of XTC’s later work – high praise indeed.

Design – Black Marker Red Marker



Time for one of our local bands, hailing from Somerset this trio are formed by former Chesterfields band member Simon Barber and features Helen Stickland on guitar and Rob Parry on drums. It sounds nothing like the twee pop of the Chesterfield though and instead more akin to another great West Country band of old – 1980s punk act Thatcher on Acid, particularly on the driving bass on opener You Only Had to Ask.

There’s some good tunes on here, as well as zeitgeist lyrics tackling weighty issues of the day such as consumerism and the Middle East. If You Like That is among the best  on the album, as is the more rock orientated Kill Someone.

Promised Land Sound – For Use and Delight


promised land sound

Slapped wrists indeed for us in missing this excellent album from folk, pop, psychedelia, you name it, act from Nashville. There’s some downright lovely guitar arrangements here as you’d expect from a band from Nashville, and in lead vocalist Joe Scala they have a great frontman, whose relaxed vocal delivery seems effortless but takes a lot of work for far less talented singers to get right.

Those who saw Alabama Shakes in the US recently may have caught them live. You were lucky on the evidence of thisalbum . Check out the final, frantic minute of Push and Pull (All the Time) to hear why we were so impressed with this release.

Chorus Girl – Chorus Girl



This debut album from this London-based guitar pop quartet is full of great indie anthems, part Breeders, part the quality, modern indie-pop we’ve come to expect from their label Fortuna Pop. The beating heart of these songs is their chief songwriter Silvi Wersing, whose vocals brings a certain,  at times goth, edge to the music. Key tracks include Sweetness and Slight and opener Oh To Be A Defector.

Reviews by Joe Lepper


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Alternative Top 40 – Winter 2014/2015

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Alternative Top 40 – Winter 2014/2015

Posted on 12 January 2015 by Universal Horse

The Alternative Top 40 is a regular music chart shared across multiple music blogs, and a great way of discovering music you might not have heard elsewhere. We are delighted to be among those blogs involved in sharing this list, which is created from nominations from you and compiled by the website Universal Horse.


To contribute to the next #AltTop40 all you have to do is suggest your favourite tracks of the moment to Universal Horse via their online form – or email them a top 5 at by Saturday 4th April.

Here’s this month’s edition (note that for its January edition Universal Horse only counts releases from the previous 12 months, making this a de facto ‘tracks of the year’ list):

1. Vessel – Red Sex

2. Eels – Where I’m Going

3. Wenonoah – Hide

4. Copeland (Ft. Actress) – Advice to Young Girls

5. Noura Mint Seymali – Tzenni

6. Boxcar Aldous Huxley – The Slow Decline of the London Necropolis Railway

Telegrams Elapsing by Boxcar Aldous Huxley

7. Rabit – Red Candles

8. Swans – She Loves Us

9. SJ Esau – Soul II Skull

10. Robert Plant – Little Maggie

11. Die Antwoord – Ugly Boy / +
12. The Brackish – Surf’s Down / +
13. Rachael Dadd – Strike Our Scythes / +
14. Bob Mould – I Don’t Know You Any More / +
15. Perfume Genius – Queen / +
16. Alex Dingley – Knuckle Bone / +
17. New Cowboy Builders – Black Moses / +
18. Deerhoof – Exit Only / +
19. Gulp – Vast Space / +
20.  Yasmine Hamdane – Hal / +
21. The War on Drugs – Red Eyes / +
22. The Spitfires – I’m Holding On +
23. Marilyn Manson – Third Day of a Seven Day Binge / +
24. The Bug feat. Manga – Function / +
25. La Dispute – Extraordinary Dinner Party / +
26. Papernut Cambridge – Nutflake Social / +
27. tUnE-yArDs – Water Fountain / +
28. Paul Orwell – Tell Me, Tell Me / +
29. Tape Waves – Looking at the Sun / +
30. Grumbling Furs – All the Rays / +
31. Downard – Metal Office / +
32. Porcelain – My Friend Paranoia / +
33. Scott Walker & Sunn O))) – Herod 2014 / +
34. Xiu Xiu – Stupid in the Dark/ +
35. Psyence – Chemicals for Breakfast / +
36. Happyness – Great Minds Think Alike, All Brains Taste the Same / +
37. Henry Blacker – Pullin Like a Dray / +
38. Adrienne Lenker and Buck Meek – A Better Time to Meet / +
39. The Van Allen Belt – Clouds/ +
40. The Spiritualized Mississippi Space Program – Always Forgetting with You / +

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Interview: John Howard

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Interview: John Howard

Posted on 11 November 2014 by Joe

John Howard’s story is one of the best, albeit lesser known, in music. During the 1970s he was signed to CBS as the latest singer-songwriting talent. But it was a career that faltered before it began. Adjusting to failure he dusted himself off, took a job behind the scenes in the music industry and then years later embarked on a second music career, this time in an internet age where he continues to produce some of his best work.

It was another singer songwriter, Ralegh Long, who introduced us to his music and through a subsequent flurry of emails we forged a friendship with Howard and so did Long and his fellow artists at Gare Du Nord Records.

Howard is now a regular collaborator with the Gare Du Nord stable of artists, that also includes Robert Rotifer, Ian Button (Papernut Cambridge and Death in Vegas) and Alex Highton.

John Howard (Spain, 2010)

John Howard (Spain, 2010)

This month sees Howard return to the UK from his home in Spain for a rare live performance as part of a Gare Du Nord showcase at the Servant Jazz Quarters, London, where his backing band will feature Rotifer, Button and Paul Weller’s bassist Andy Lewis. This is the same line up that backed him at his last UK gig, at the same venue last year. November also marks the release of his  latest album, Hello My Name Is.

As he prepares to pack his bags for the UK Neonfiller’s Joe Lepper caught up with him to ask him about his two contrasting musical careers in the 1970s and modern day, changing gay culture, forthcoming releases as well as some of the characters and themes on Hello My Name Is. We even find time to discuss the benefits and pitfalls of  social media, musical theatre and the evil that lurks in The X-Factor and other TV talent shows.

Neonfiller: Your latest album covers themes of perception and identity. What is your perception of yourself as an artist? How do you think others perceive you?

JH: That young aspiring artist of the 1970s feels like a different person to me. I don’t really recognise him. I was so confident and arrogant back then, I believed I couldn’t fail.

So failure when it came was something of a shock, even though it crept up on me over about two years, between 1974 and 1976. I’d had such a clear vision of the music I would make up to that point. But failure with doing my own thing,  in my own personal style, meant that to try and achieve ‘a hit record’ I had to go down several other musical avenues, none of which felt right or natural and didn’t succeed either. It taught me lot though, and the fact I managed to get up, dust myself down, and simply get on with things, rather than let it knock the stuffing out me made much stronger and resilient.


Now, as a rediscovered artist from the ‘70s I have two fairly distinct sets of fans. There are those who can’t really get past my ‘Biba Glam Balladeer’ period, who consider Goodbye Suzie my only single which means anything, and post a ‘Like’ on Facebook whenever I put up a video of a ‘70s track on my Facebook page, but entirely ignore anything more recent.

Then there are those fans who probably discovered me via the unexpected rave reviews of my re-released 1970s albums and have thankfully gone beyond that. This group have followed, bought and supported the albums I’ve written and recorded since 2005.

I am, of course, very proud of some of my ‘70s output, and will always be grateful for its rediscovery giving me a new career again, but I sometimes wish some people could accept that I’m not that pin-stripe suited Kid In A Big World anymore. That album and period is just a small part of what makes me what I am in 2014. I hope that doesn’t sound ungrateful or sour. It’s not meant to at all. Just an observation of how some people see me, or want me to be preserved in 1970s aspic.


I remember turning up at a gig in London in 2006, we were hulking my keyboard and stuff into the venue and a bloke ran up to me shouting, “It’s John Howard! Where is your suit? Why are you not wearing your suit?”. I was in jeans and t-shirt with my stage gear packed in my bag. “You’re wearing jeans,” he cried, hands clasped to his head. I felt I’d completely let him down, and in fact I had. The hilarious thing is I never wore suits in the ‘70s except for photo sessions and concerts, I wore jeans and T shirts back then as well. People’s perceptions, which, as you say, is what this new album covers.

Neonfiller: You mention in your press release about interaction through social media making the world smaller but at the same time making us lose a sense of self. What is your relationship with social media like?

JH: Social Media has been a godsend for my career. If I’d had it at my fingertips forty years ago things would have been very different. Back then, an artist was completely at the mercy of his or her record company and not being signed to a ‘major record company’ does mean I miss out on all the ‘big time’ promotional stuff. But I’m happy to fore go that to keep control of what and how I do things.

My main concern with social media is how one can be fooled into thinking you matter more because of it, by how many ‘friends’ you have, when in truth we can still name our true friends on one hand. And that can create a sense of worthlessness when we start to crave approval, many times during the day in some cases, which can only lead to disappointment. It depends how strong one is mentally and emotionally, and on how good our personal life is, in terms of how one copes with apparent ‘rejection’ or ‘being ignored’. It’s all so transitory too, you put up a post and down it scrolls within seconds from the home feed, its importance and immediacy sinking before your very eyes. If you don’t take it – and what people write to you and about you – too seriously, then it’s fun, often very useful, and a door-opener in many ways I would not have thought possible when I started out as a singer-songwriter in 1970.

Neonfiller: Some of the tales on Hello My Names Is are extremely sad. The protagonist in ‘Bob/Bobbi’ is particularly tragic. Tell us more about the characters on this album.

JH: As with most of my observational songs, they are mainly an amalgam of different people I’ve known or read about.  Bob/Bobbi was different in that it is actually about one person who I knew, though even in this song other memories and experiences are interwoven into ‘Bob/Bobbi’s’ story.

Hello_My_Name_Is_2400 front cover

Bob was a guy my partner Neil and I met while on holiday in The Canaries in the late ‘90s. We got chatting to him at the bar of the complex we were staying in – though chatting is something of an exaggeration as he wasn’t very talkative. He was very dour, smoked his cigar with head down and answered my nosy questions with occasional nods. Later that evening, Neil and I were sitting at the same bar and suddenly, like a flash of gorgeous pink and purple, out of one of the apartments came this beautiful creature, long tight dress, fabulous hair and make-up, feather boa, giggling and dancing down to the taxi rank by the main gate, jumping up and down with excitement. “That’s Bobbi,” one of our bar acquaintances said, “isn’t she amazing?”. It was Bob in full drag, a slim lithe laughing creature, in love with life and basking in how fabulous she looked and felt.

The next day, there was dour ol’ Bob sitting at the bar again. This happened every day and night of the week. On our last day, I sat next to Bob to say goodbye and after a few puffs of his cigar, he turned to me and said, “Last night was Bobbi’s last fling. I’m putting her away now. She’s gone.” I tried to ask him why but he didn’t want to expand on it, stood, nodded goodbye and left the bar. We never saw Bob again. This rather poignant episode has stayed with me ever since.

The ‘character’ in City St. Sirens is based in part on a young guy I heard talking to his mum on his mobile on the train. She had obviously asked how he was, concerned about her son in the Big City and he answered as brightly as he could “I’m Fine!” But it didn’t convince me at all, and I’m sure didn’t her either. It took me back to when I first arrived in London in 1973 at the age of 20, living in digs in Epping, looking for job to pay the rent, feeling shattered and my mum sounding worried on the phone. “Are you alright, son?” she’d ask, and there’s me trying to sound positive. “Yes, I’m fine, honest, mum, really” knowing she wasn’t convinced at all. But I did love living in London.

Neonfiller: Born Too Early is an intriguing song with its focus on sexuality and the double lives of some gay men. Tell us more about this song and the messages it is conveying?

JH: Yes, this one plays around with the ‘butch/bitch’ thing certainly gay men of my generation went through. I had a friend back in the ‘70s who used to wear a T Shirt with ‘Butch’ on the front and ‘Bitch’ on the back. I used that as the starting point of juxtapositioning things like ‘Bent as Shirley, McQueen Straight’ in the lyric, using wordplay, which I always enjoy.  Now of course, such terms seem laughable, from another age, and they are, but they were the language my friends and I used back then. All the gay men I knew had ‘camp names’ for each other – I was ‘Mary’ as my friend Bill (‘Beryl’) thought it perfectly summed up my ‘dizzy bitch’ personality.


The lyrics “Big and burly, inert, innate, slender twirly, Dance Till Eight flashing in your eyes and a glass of Riesling in your hand” are all images from my early 20s, when I would dress up in my best gear at weekends and dance the night away, then we’d all drive to a morning diner in Fulham called Up All Night and eat burgers before crashing out on someone’s floor.

Gay pubs in the ‘70s were full of ‘femme’ and ‘butch’ guys, eyeing each other up, while, hilariously, between the sheets those roles were quite often reversed! There are times when I feel I was born at the right time, others I wish I’d been born in a different age. I sometimes long for the chic 1920s world Noel Coward inhabited but also know it was a very difficult and dangerous time to be gay. I grew up in a decade where being gay was finally legalised, and the ‘70s felt very free and abandoned to me, certainly in London.

The line “Some men stopped and stared, chance some of them stayed the night and never cared how their wives swallow lies” describes how I was quite often picked up in various clubs and bars I was performing in by guys who had just a few nights earlier been at the club with their wives. These double lives again. Sometimes the knowingness of young people today astonishes me, the gaucheness of my own youth just isn’t there, people in their teens seem very grown up in their attitudes, and being gay, which was such a talking point, especially among straight friends in the ‘70s, is now considered uninteresting by young folk, which is great but also alien to me still.

I grew up feeling different, actually glad to be different, and it’s a bit unnerving when you are no longer regarded as anything different or special “just because you’re gay.” Being ‘different’ together was how we survived together.

Neonfiller: How has the music industry changed for gay men since your first career in the 1970s?

JH: I wrote a song called My Beautiful Days in 2007 after a conversation I’d had with my former CBS producer Paul Phillips about why I hadn’t been a success back in the ‘70s. Paul shocked me by telling me he believed it was because some people on high at BBC radio back then were homophobic. Around the same time my former manager’s widow also told me she’d had a conversation with a particular producer who had intimated to her that my sexuality would prevent me getting plays on Radio 1.

That seems completely unbelievable now, doesn’t it? I remember when George Michael was arrested for ‘lewd acts in a public toilet’ in L.A. in the ‘90s, the trash tabloids were gleefully getting ready for him to get a public roasting. Instead, George went on Michael Parkinson’s show and talked openly about the incident, laughing about it, and making the audience laugh about it too. Within a week his record sales were tripling.

John Howard at Les Ambassadeurs, Park Lane, August 1974.

John Howard at Les Ambassadeurs, Park Lane, August 1974.

The ironic thing about my situation in the ‘70s was that it came at the same time we had the campest of pop stars cavorting around Top of The Pops. But the difference then was that none of those pop stars admitted to being gay, they were all ‘straight’, were married, had girlfriends, so it was considered a bit of a laugh to wear make-up, huge earrings and feather boas and swish around a BBC set.

David Bowie got headlines in the early ‘70s for ‘coming out’ as ‘bisexual’. The ‘announcement’ in, I think, Melody Maker made him the talking point of the press just as Ziggy was being launched. Then he’d arrive at press conferences with his wife on his arm. “That’s ok then,” said those on high. But here was me, totally out as a gay man, not hiding behind ‘bisexuality’. The poor old Beeb just considered it a step too far.

The BBC thought up all sorts of excuses not to play my singles, “too depressing”, “anti-female”, all quite bizarre reasons. One of the singer-songwriters I admire now is Rufus Wainwright, completely out as a gay man, admired by millions, straight and gay.

Neonfiller: Every now and again you like to release a covers collection, often by less well-known artists. Which tracks and artists are next on your radar? Also what other releases are in the pipeline?

JH: The next covers E.P. I do will be going back to my 1970s songwriting heroes. I want to record a song by The Incredible String Band, who I adored in the early ‘70s; a Nick Drake song, which I was planning to do a few years ago but there was such a media saturation of Nick’s material then about that time that I decided to hold off. I want to record another Shelagh MacDonald song, such a wonderful singer-songwriter who has also had something of a comeback to performing and recording in the last couple years after disappearing in the ‘70s. She very kindly got in touch with me when she’d heard my version of her ‘Canadian Man’ and we’re now in regular touch with each other. I’m still mulling over the other two songwriters I want to cover for the next E.P., but I think a Sandy Denny song would be lovely to do.

John Howard (l) and Andy Lewis (r), November 2013

John Howard (l) and Andy Lewis (r), November 2013

I am also soon to begin work on a new album with the band I’ve gigged with at The Servant Jazz Quarters (Rotifer, Button and Lewis) last November. It will be recorded as a band album, together in the studio at the same time, and it’s a long time since I did that – As I Was Saying in 2005 to be exact. This time we’ve written all the songs together, so there will be Rotifer-Howard, Button-Howard and Lewis-Howard songs on there. Seeing what, say, Robert does musically with a lyric I’ve sent him, ditto Ian and Andy, has been fascinating, and vice versa for them.

Neonfiller: You are playing at the Servant Jazz Quarters in London for the second time later this month. What does it mean to you to be able to return to the UK and perform in front of an audience and meet up with your friends at Gare Du Nord records?

JH: It means a lot to me. The response I had at last year’s SJQ gig completely overwhelmed me, I wasn’t expecting such an amazing reaction. Before I left the UK in 2006, I’d played quite a few gigs up and down the country, Manchester, Brighton, Chester, London, and was getting very depressed at the dwindling audience numbers – the last gig I played in Chester had 15 people there, and half of those were close friends who’d – thank goodness – made the effort to come and hear me. Somehow the word was not getting out there about me  and I decided to retire from live performing again.

John Howard at the Servant Jazz Quarters, London, 2013.

John Howard at the Servant Jazz Quarters, London, 2013.

I still wanted to write and record, firstly because I love it, and secondly because, although I’ll never be a big album seller, there are people who buy what I do all over the world. It was the live circuit which just wasn’t turning onto me. I did a couple of shows once I got to Spain in the autumn of 2007, which my then record company, Bilbao-based Hanky Panky Records arranged for me (they’d released my album Barefoot With Angels that year) but once that album had done its bit their interest waned and there were no more shows in Spain either.

Robert Rotifer, Ian Button, Andy Lewis and John Howard (l-r)

Robert Rotifer, Ian Button, Andy Lewis and John Howard (l-r)

The traditional ‘paper’ magazines also lost interest over time, so your fantastic interest in and coverage of my work in Neon Filler, along with a couple of other online music magazines, has been a real fillip for me in the last couple of years. It’s reignited my belief in what I do, seeing how there is still journalistic interest in my music. It matters to read reviews of what I release. I’d be lying if I said it didn’t.

It’s actually because of you that I am finally back performing on stage again! You gave my 2012 album You Shall Go To The Ball! an amazing write-up in Neon Filler and introduced me to Robert Rotifer and Ralegh Long, who unbeknownst to me were fans of mine. Robert, Ralegh and their Gare Du Nord compatriot Ian Button have been simply fantastic. They made me feel so welcome last year when I performed at The SJQ at their invitation, and that enthusiasm for what I do has never waned or lessened.

Neonfiller: Sometimes when on the rare occasions I watch Britain’s Got Talent or X Factor I wonder how you would go down among the mainstream prime time TV audience and the likes of Simon Cowell. Now don’t laugh, but would you ever consider applying for one of these shows?

JH: I absolutely loathe those programmes and what they stand for. Of course Britain’s got talent, as does every country in the world, it’s what the likes of Cowell do with that talent which bothers and angers me. He and his cohorts turn individuality into conveyor belt mush, autotuned-to-f**k vocals, the girls all sounding like Cowell’s’ musical wet dream of producing the love child of Whitney Houston and Mariah Carey, all singing 15 notes where one will do, and the male singers all ending up sounding like solo members of Westlife.

I call BGT and the X Factor ‘Cruelty TV’, the whole Coliseum atmosphere he creates, the audience baying for blood when they dislike a performer and cheering to the rafters when they see someone they approve of.

Cowell and his co-presenters have often defended this approach by saying that all artists have to get used to rejection in their careers, so the way singers are treated on X Factor. What tosh. Any rejection most artists experience from a manager, agent or record company is done in private, not with millions of people looking on. It’s just an excuse to make these self-important smug bastard judges feel like big men who get to wield their ‘power’ in public.

I guess you know the answer to your question then – No.

Neonfiller: Finally, I get a sense of drama from your songs. Your music and lyrics seem tailor made for the stage. Storeys in particular springs to mind. Have you written a musical that is sitting collecting dust somewhere?

JH: This is something that has been said to me ever since I started writing and performing in 1970. I never start out with any song intending it to have a dramatic twist but somehow, it usually does. I think the dramatic thing actually occurs because I love singing so much, and I always have had a physical need to take a melody from its base and let it soar. I discovered this ‘bent’ in my writing early on and as my voice got stronger then that happened increasingly more. I consider myself lucky that I can still do that. I think it’s fairly unusual to be able to still ‘soar’ vocally at 61. Don’t know why I still can, though I believe the fact I have never gigged very much has a lot to do with it. So there’s a kind of explanation of why my songs have that theatrical structure. I do love stage and screen musicals, always have, and my partner Neil and I regularly settle down of an evening to watch something like Oklahoma or South Pacific on DVD, every song is a classic, every performance a gem.


I did have a couple of attempts at writing a stage musical back in the ‘70s, one was based on Oscar Wilde’s The Picture of Dorian Gray and I got as far as writing two songs for it then got bored, or events took over to take my attention away from it.

I feel very comfortable doing what I do, I know how to write and put across a song, I know how to record those songs, I know what arrangements I want for those songs, and I know how to get those songs out on the market. But a musical? It takes years to just get it on, if you ever get that far. The sheer effort which would likely end in failure exhausts me just thinking about it.

For more information about John Howard visit his website here.

Details about his November 26th gig at The Servant Jazz Quarters, London, can be found here.


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