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Guilty pleasures: Saturday Night’s Alright for Fighting

The king of the lad anthem: Gallagher? Ashcroft? Albarn? How about a stately home dwelling Sir married to another man?


For me a guilty pleasure is a song that requires no thought, no straining of the cranium, no self reflection, no analysis.

A song that can be easily repeated after ten pints of beer – or two bottles of sherry if that way inclined. A so called ‘anthem’ that joyously declares the weekend is here and says: “I am not at work for two days and I am going to bleeding enjoy it.”

Liam and Noel - no match for Elton 'as oiled as a diesel train'

The 90s harvested a good few of these numbers; The Verve, Oasis, Blur, took to the fields to plough while the sun shone on Britpop. Their crop was a sturdy root – about three and a half minutes in length, accompanied best with a pint of low strength lager.

And like a hoppy belch it spread with a stench of masculinity. They were anthems for the lads, mantras to be chanted on football terraces. Men who thought music was just something ‘the wife’ liked even knew the words to Don’t Look Back in Anger.

But Britpop didn’t quite offer me the debauched thrill I had subconsciously already drunk in watching countless episodes of Top of the Pops Two as I prepared for my teen years.

When I turned 18, readying myself for the Midlands’ worst night-spots, there was only one song for me to prune to. It certainly wasn’t Wonderwall; that was about a girl. Parklife was too close to a poem for my liking. Bitter Sweet Symphony had violins in it and stuff.

Woe betide whoever spilt Elton's pint

It wasn’t a song released in my teens either. Sentimentality crept into mainstream indie by the late 90s. Men started talking about their ‘feelings’, inviting friends round for dinner parties, reading stuff. The Fratellis and Kasabian helped bring about a mid decade resurgence of blokeness in the 2000s but with all that self-parodying swagger it was hard to take them seriously.

I needed a real man. After all I was heading into drinking establishments full of women. I wanted to strut my masculinity. I wanted to claim one. I needed a man that set my anthemic bar unattainably high back in 1973, when men wore moustaches and corduroy flairs.

A man that donned spandex and star shaped glasses because he didn’t give a damn. A man that sold out a baseball stadium. A man whose sheer physicality would make mincemeat of both Gallaghers together in a bare-chested fist-fight. A man who cusses more reading his adopted son a bedtime story than Jonny Rotten does in a calendar month. Sir Elton John.

Sir Elton and David Furnish - hard as nails

Saturday, Saturday, Saturday, Saturday, Saturday, Saturday, he sang, dressed in feathers, smacking the piano with wide-eyed abandon. He didn’t need a parker jacket to disguise his weak frame – Elton had it all on show.

Saturday Night’s Alright for Fighting is the only song to embark on a weekend with; lyrics about meeting the lads, picking up chicks and decking strangers. Add Davey Johnstone’s chunky, glamfuzz descending riff and you have it: the musical equivalent of shooting whiskey while driving into town in a pick-up truck.

Testosterone fuelled spunk-rock at its spunkiest and even a Neanderthal can recite the lyrics to the coda. Thank you Sir Elton, I’m going out to pull.

Written by Paul Lynch

Song of the week: Crowded House – It’s Only Natural

We decided to break with tradition and use a studio version instead of a live offering for this Song of the week, merely because the promo video is so cool.

Kiwi pop rockers Crowded House really struck gold with It’s Only Natural and the accompanying video – including shots of bassist Nick Seymour cruising the streets on a pair of rollerblades – embodies the understated coolness of the band.

The track is one of several brilliantly crafted songs off 1991’sWoodface and contains just about everything you need for the perfect pop song – catchy vocal lines, strong melodies and an innate optimism. Enjoy.

It Bites: Live review

As one reunified Manchester four-piece hogged the headlines with their plans to “shake up the world” it was left to a little-known reformed Cumbrian quartet to shake up one corner of the city last night.

The Sale Waterside witnessed a band not only reunited but one evolving nicely as It Bites wooed nostalgic neo-prog fans with an inspirational intimate gig.

Formed in 1982, the group flirted with the charts with singles like 1986’s Calling all the Heroes before disbanding in 1990 following the departure of frontman Francis Dunnery.

However a 2006 reunion with a replacement in the form of prolific progressive guitarist John Mitchell saw one of the era’s most underrated outfits return to the live arena.

I must admit I was a bit apprehensive before the performance. Reunions 20 years down the line can lose some of the spark with the original line-up intact let alone without the services of virtuoso singer-songwriter like Dunnery. My trepidation had been somewhat eased by a listen to The Tall Ships, the band’s 2008 comeback album, but it wasn’t until this occasion that I was convinced the future is bright.

Filling the shoes of Dunnery is no mean feat – metaphorically and literally. Although Mitchell doesn’t quite measure up to the big man in stature he certainly is a match in terms of musicianship; his playing bears an uncanny resemblance to that of his predecessor, so much so that the likes of Screaming on the Beaches and the ten minute masterpiece that is Old Man and the Angel were remarkably true to the album versions.

The 300-strong crowd were treated to four virtuoso performances. Just as you can tell Bob Dalton obviously hasn’t spent too much time away from the kit – as tight as the Treasury with a series of complex drum patterns and precision drum rolls – it was plain to see the other founding member John Beck is still as energetic as ever with his mesmerising keyboard playing and immaculate vocal harmonies. Newest recruit Lee Pomeroy also put in a faultless performance and showed he can come up basslines as driving and as distinctive as predecessor Dick Nolan.

By the time third track Underneath Your Pillow was performed it was obvious something special was happening. Other old favourites were revived with real aplomb included Kiss Like Judas and an encore of Calling All the Heroes which whipped the crowd into a state of euphoria.

Mitchell is the right man to take the criminally-underrated outfit forward if the material piloted last night was anything to go by. Opening with brand new single Wallflower – an aggressive number containing many of the hallmarks of a great It Bites track including mind-boggling time signatures and tempo changes, the fantastic four were clearly enjoying themselves. Map of the Past, the title track and lead single from the band’s forthcoming album, was a mellower meandering number but equally infectious. Oh my God and The Wind That Shakes the Barley – two of the more anthemic offerings from The Tall Ships – deservedly received an enthusiastic response from the crowd.

Aside from the supreme musicianship what I always loved about It Bites’ music was that it was utterly unique. Judging by that won’t be changing any time soon.

The resurrection of The Stone Roses

Today the music world was shook by the best news it has received in a long time… Kanye West and Jay-Z are being sued for unpermitted sampling. Oh and The Stone Roses are reforming.

The seminal Manchester quartet confirmed at a jovial press conference today that they are reuniting, with frontman Ian Brown claiming they are going to “shake up the world” with a global tour beginning in Manchester at Heaton Park next June.

Brown sat next to long-time arch nemesis John Squire, who claimed a rapprochement with his ex-best friend began at when the band members attended bassist Mani’s mother’s funeral. The possibility of a reunion has been unequivocally denied by the singer and the guitarist, who forged careers in music and art respectively after the group dissolved in 1996, on a number of occasions over the years.

The band soak up the atmosphere ate the eagerly anticipated press conference

However the announcement, which comes 22 years after the band’s eponymous debut was released, has been widely anticipated in recent weeks after rumours started circulating and tabloid reports suggested a money spinning series of comeback gigs was on the cards due to the singer’s expensive divorce.

Band reunions are not as exciting as they used to be; musical reformations seem to come more frequently than musical formations these days. But this one is a bit special — as excited as I am that Lee Latchford-Evans and ‘H’ from Steps have put their differences aside. The Roses were the most talented band to emerge from the Madchester scene by some distance and have far more in their locker than the likes of Oasis and The Charlatans despite their relatively short tenure the first time round. I always thought it criminal that a band so obviously talented, so in sync, so musically mature despite its relative youth could be prevented from fulfilling its potential due to contractual wrangling and internal strife.

Thankfully the group also admitted that they have been experimenting with new material and seem open to having a crack at another album so it seems like more than just a lucrative farewell tour. Now let’s hope King Monkey’s alimony doesn’t drive up the ticket prices.

Guilty pleasures: 30 Seconds to Mars – Kings and Queens

We all have skeletons in our musical closets. This week Luke Dixon spills the beans on his, Kings and Queens by vainglorious rockers 30 Seconds to Mars…

Jared Leto

Leto refused to touch his handlebars unless he was assured the rubber grips were ethically sourced

We all know that good bands go bad every once in a while. Occasionally, however, bad bands go good. And when they do it is important to give kudos no matter how it much it pains you.

This is very much the case with my begrudging yet ringing endorsement of 30 Seconds to Mars’ 2009 single Kings and Queens, unfortunately penned by self-styled polymath and brazen self-publicist Jared Leto.

I find the yo-yo dieting vegan himself a frustrating individual; part time actor, part time musician – full time nob. His ‘theatrical’ promo videos

Jared Leto activism
It was all about the music when the band attended the MTV Music Awards

for the band’s songs, drawn out with ‘chapters’ as well as end credits and directed under a pseudonym, reek of self-indulgence.  Add to that the frequent pulpiteering about anything from the environment to gay rights and you can’t help but think he is a tad conceited.

Similarly I find 30 Seconds to Mars frustrating. In contrast to the inspirational Kings and Queens the rest of their back catalogue is about enjoyable as a candlelit dinner with Chris Moyles. Decidedly overproduced but middle-of-the-road offerings such as the whining This Is War and the cloying Closer to the Edge have convinced me this particular chart topper was merely a fluke. Perhaps if Leto spent more time writing songs than endangering his health through method acting and working on the storyboards to his music videos he may write another belter one day. But for now at least this uplifting tune will be one of my dirty little secrets.

There are even elements of the song itself which I take issue with; the screamed lead vocals, the synthetic drums and fake-sounding strings. They are hallmarks of the more mediocre Mars releases but it all just seems to work here.

I guess when it comes to songwriting it’s all about strong melodies. Never mind the details; an anthemic refrain and an atmospheric lead break really is all you need to make a great pop-rock song. I just wish Jared would do it a bit more often.

Song of the week: Paul Simon – I Know What I Know

Paul Simon and his merry band of unpronounceable South African musicians win full marks for originality when it comes to this completely off-the-wall number from 1986’s Graceland.

This performance from the following year in Harare displays I Know What I Know in all its glory, with the eccentric jangly guitars, rhythmic percussion and walking bassline forming a suitable backdrop for Simon’s clever vocal lines.

The track is just one of several gems off the seminal album, which brought together an eclectic range of influences including traditional township Isicathamiya (a capella) music and propelled artists such as Ladysmith Black Mambazo to a global audience for the first time.

Strangest deaths in rock and roll – Jeff Porcaro

Not every rock star shuffles off this mortal coil in a pool of their own vomit at the age of 27. DTL begins documenting the strangest deaths in music with Toto drummer Jeff Porcaro.

“Anyone else smell DDT?”

Toto’s stickman always was an innovative drummer and he certainly cannot be faulted for a lack of imagination when it comes to his demise, dying of an allergic reaction to insecticide he was using in the garden of his LA home.

There have been reports that Porcaro actually died of a heart attack resulting from prolonged cocaine use, although the majority of the press and the band’s website claim it was caused by a severe reaction to the chemicals in the spray he was using.

One of the hardest working session musicians in the business, Jeff got his big break as the drummer for Sonny and Cher before featuring on records for the likes of Michael Jackson, Dire Straits, Madonna and Bruce Springsteen. He founded Toto with his brother Steve in 1978 and remained in the band despite his extensive studio commitments until his death at the age of 38.

Born: April 01, 1954

Died: August 05, 1992

Official cause of death: Heart attack caused by an allergic reaction to insecticide/hardened arteries due to cocaine use.

How to pay your respects: Listen to something by pretty much any mainstream American artist between 1974 and 1992, or try to learn the Rosanna shuffle beat as explained by the man himself below.

Song of the week: The Moody Blues – Lovely To See You

Lovely To See You catches the mercurial Moodies on one of their better days.

It is just about the strongest song on 1969 concept album On The Threshold Of A Dream thanks to Justin Hayward’s silky-smooth lead breaks and fantastic harmonies evocative of the golden age of psychedelic pop.

Watching the video below allows you to savour those delights without having to brave one of drummer Graeme Edge’s tedious introductory spoken poems.

Bedroom Zeroes – Itchycoo Parp

While searching for Song of the Week videos, DTL has become somewhat obsessed with the glut of stinking cover versions of popular songs uploaded by seemingly deluded Youtubers… So much so we are starting a new feature, Bedroom Zeroes.

We’re kicking things off with a real humdinger – a very disagreeable version of Small Faces’ psychedelic pop classic Itchycoo Park by prolific Youtube strummer posturex1.

You could easily waste away two or three hours watching the hobbit-like upstart butchering dozens of classics – marvelling at his Windows Movie Maker skills and bewildering self-confidence. However this particular offering stands out because of his over-exuberant attempts at replicating Steve Marriot’s powerful voice. It’s compulsive viewing.

Similarly fascinating is the plethora the gushing comments from his ‘fans’ which succeed only in swelling the nominally talented, hobbit-like musician’s delusions of grandeur.

Mind you, the corpulent singer does get maximum points for enthusiasm. He comes into his own after two minutes, letting out a pig-like snort before negotiating the final chorus key change with a series of blood-curdling screams. The only thing that could make this video any funnier would be if he was wearing nothing but a giant nappy.

Song of the week: Supertramp – Dreamer

Picking a Supertramp offering for Song of the week is a tough task – there are just so many good ones.

Amid the plethora of parasitic ‘covers’ uploaded by conceited YouTube twats and terrifyingly well performed solo versions by singer Roger Hodgson during his prolific touring career since his departure from the group, there’s no shortage of live videos which show the band in all its pomp.

However, in a bout of cloying gratitude I’m going to opt for this classic rendition of Dreamer from The Old Grey Whistle Test in 1974 because it was the track that first got me into the magnificent five-piece.

It’s such a shame that relations have become so acrimonious since Hodgson left the band to spend time with his family, due to a disagreement between him and keyboardist Rick Davies allegedly because the latter reneged on a gentlemen’s agreement to not perform any songs penned by Hodgson during his tenure.

You see, one of the great things about Supertramp was that every member brought something to the mix in terms of tasteful playing – something shown in the video below.