Cover Me! Jagger/Richards “So Much in Love”


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Screen Shot 2020-04-19 at 7.04.20 PMDigging through my vinyl collection I came upon a 1974 Deram/London (Decca in the UK) Records release entitled Hard Up Heroes, a compilation focused mostly on lesser known tracks from British artists from the ‘beat’ era (roughly 1963 to 1967). It’s got some cool stuff on it but the real find was a track called “So Much in Love” recorded by The Mighty Avengers. What a tune! So subtle in its earwormy effects. Now imagine my surprise to discover it was a Jagger/Richards cast off from a period when they were trying to mimic the Beatles’ songwriting largesse by giving away their excess material to other artists. And what makes the story even more intriguing is just how many acts tried to make this a hit – unsuccessfully! Most of the versions came out in the mid-1960s period, with a few in the 1970s, one in the 1990s, and then one last version in 2018. And, of course, there may be other versions I’ve yet to find. I won’t feature them all here, just the ones that take the song in slightly different directions.

In my view, arguably the ‘best’ version of “So Much in Love” was the 1964 original by The Mighty Avengers. They were a Coventry band that were briefly a part of Rolling Stones manager Andrew Loog Oldham’s stable of artists (as he attempted to mimic Beatles manager Brian Epstein’s success managing multiple acts). Oldham procured the song for them from the Stones and then produced the cut, with help from future Led Zeppelin member John Paul Jones. I love the sound of this era of British poprock and the band squeezes a nice amount of hookiness out of the tune, helped by some great plinky piano and a straight up early Moodies-style vocal.

The Mighty Avengers

Subsequent versions of the song split between more poppy and rocky takes. In 1965, three covers of the song typify this division. Australia’s Johnny Chester and his Chessman offer up a very genteel, mannered pop arrangement that stylistically would not be out of place as an Everly’s album deep cut. Ian Crawford amplifies the song’s pop elements with horns and fancy background vocals. By contrast, Liverpool’s Ian and the Zodiacs deliver a classic Merseybeat version. Three more covers in 1966 continue this trend with The Herd rocking things with plenty of soul organ, Denmark’s The Hitmakers blowing up the pop sound, particularly on the vocals, while sometime fashion photographer Charles Dickens vibes a little Beach Boys with production help from Andrew Loog Oldham.

Johnny Chester and the his ChessmenIan CrawfordIan and the ZodiacsThe HerdThe HitmakersCharles Dickens

Despite its failure in the 1960s bands would continue to keep trying to push “So Much in Love” onto the charts. Arguably the most successful was Australian band Cheek, whose 1977 version briefly made that country’s top 50. However, the band broke up shortly afterwards, having released only two singles and no album! Three years later UK pub rock/new wave band The Inmates featured a rollicking version of the song on their second album, A Shot in the Dark. The next cover came 15 years later from a band that technically didn’t exist. The Lonely Boys were created to provide the music for a fictional 1960s band featured in a 1990s book and movie of the same name. The band’s performance exceeded all expectations, producing a strong debut album and a killer version of “So Much in Love” that seemed to out-sixties the actual 1960s recordings. Most recently Roxanne Fontana turned out a peppy yet understated classic rock and roll rendition of the tune in 2018.

The InmatesThe Lonely BoysRoxanne Fontana

Discovering this great lost Jagger/Richards tune has got me thinking there has to be a Songs the Stones Gave Away collection out there somewhere, full of overlooked gems, even if their efforts did not bear the same fruit as their Merseyside competitors.

This post benefited from research insights from and SecondHandSongs.

Gardens of hooky delights: Poprock collections, compilations, and compendiums


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Screen Shot 2020-04-16 at 11.22.07 AMWhat’s not to like about compilation albums? They’re like a load of presents crammed onto one or two pieces of vinyl, or they’re akin to a kind of melody buffet tempting to you to gorge on each one. This post runs the gamut of definitive compendiums on a theme (XTC) to compilations based on style (sunshine psychpop) to diverse collections serving other purposes altogether (the Wild Honey and Lame-O collections). Let’s dig in!

Kicking things off is a rather titanic offering, a truly ambitious labour of love that I’m happy to report is a stunning success: Futureman RecordsGarden of Earthly Delights: An XTC Celebration. XTC were a strikingly intelligent, musically adventurous, should-be hit machine. In some universe music creators as talented as the duo mostly responsible for XTC’s multi-decade output would be lauded with accolades and bags of cash. In this universe, by contrast, the eccentric, highly listenable genius of Partridge and Moulding produced 14 brilliant albums but mostly indifference from the record buying public, other than a small army of dedicated fans. Luckily, if this fabulous tribute album is anything to go by, just about every fan must have gone on to form a band! The collection draws from every period of the band’s catalogue with an amazing 49 cuts. And the quality is very high indeed.

Some of the covers here seem like spot-on recreations of the originals (e.g. Jim Laspesa and Rob Bonfiglio’s “Dear Madam Barnum”). Others take the songs in new directions, cast them in a different register, speed them up or slow them down, etc. (e.g. King Radio’s “Mayor of Simpleton”). Really, there something here for every kind of fan, from the band’s art rock/punk origins to their psychedelic Dukes’ records to the perfect poprock of their later period offerings and even some album deep cuts. I can’t possibly comment on them all so I’ll just single a few tracks that caught my ear. I love how the Kickstand Band kicks off “Life Begins at the Hop” in such a familiar way, but then bends and reinvents the melody a bit with their distinctive harmony vocals. Coke Belda and El Inquieta Roque elevate “Standing in for Joe” into classic-sounding poprock tune. You can hear the XTC-isms in Danny Wilkerson’s version of “Where Did the Ordinary People Go” but he also manages to highlight the song’s hookiness. The acoustic guitars in Gentle Hen’s take on “No Thugs in our House” lighten the mood and nicely accent the song’s melody without removing the dread that suffuses the tune. Glowbox add a nice bit of urgency to a great selection from XTC’s magisterial 1986 album, Skylarking. For XTC fans, or for those just discovering the band, Garden of Earthly Delights offers a unbeatable treasure trove of yet to-be-discovered treats.

The back story to the fabulous Kool Kat Records release of For the Record: A Tribute to John Wicks is nothing short of tragic. The legendary frontman for new wave indie darlings The Records had amassed an album full of superior tunes and got them half finished before sadly dying of cancer in 2018. But the happy ending is how co-songwriter and music blogger Richard Rossi, producer Jamie Hoover, and a cast of power pop luminaries finished the record. The album sounds amazing! The songwriting is so strong and the performances are stellar. Of course, with help from people like Peter Case, Paul Collins, Don Dixon, Bill Berry, Al Stewart and so many others, it’s hardly surprising that For the Record is such an enjoyable listen. Personally, I’m stumped picking out just a few faves. Love the “1-800-Colonoscopy” (lead vocal from REM’s Bill Berry), “Repo Man” (featuring Jamie Hoover), and Wick’s own turn at lead vocal on “She’s All I Need.” However, if I had to single out one tune it would be Paul Collin’s amazing take on “Glittering Gold,” apparently recorded live yet still hit-single-worthy. Buy this record, it’s worth it!

Our present state of corona virus upheaval has brought out the latent benefit record proclivities of both artists and record labels. We’re featuring two interesting contributions from Wild Honey and Lame-O Records, respectively. The Wild Honey release, The Benefit of Things to Come, has a great cover, mimicking the classic look of the California pop scene of the late 1960s. The Lame-O collection has a great name, Don’t Stand So Close To Me: A Lame​-​O Compilation For Self-Isolation – so apropos! The latter is mostly a lofi indie and rock and roll set but with a few sterling melodic contributions from U.S. Highball and Mike Bell and the Movies. The former is a bit more in our pop rock wheelhouse, with killer cuts from The Rubinoos, The Peawees, Doug Tuttle, MojoMatt, Peretta, and others. Our last featured collection is more about vibing on a style, this time perhaps drawing from some early Style Council plus light 1960s pop psychedelia on the fadeawayradiate records release, F.A.R. Out: A Sunshine Psychpop Compilation. It’s an eminently listenable collection, but make sure to check out the tracks from Night Heron, Young Scum, the Catherines and the Suncharms.

Compilations often give us a bit of what we know and a lot of what we might otherwise not check out. As such, there’s a real sense of adventure about the whole enterprise. And sometimes, as with the cases above, they’re also for a good cause. So click on the links and book your adventure to start now.

Spotlight single: Graham Gouldman “New Star”


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Screen Shot 2020-04-14 at 5.02.15 PMIt’s hard to believe how much Graham Gouldman has given us. Back in the 1960s he wrote such iconic hits as “For Your Love” for the Yardbirds and “Bus Stop” for The Hollies and a host of other great songs. Then in the 1970s he was one of the four talented guys that made up 10cc, contributing to hits like “I’m Not in Love” and “The Things We Do For Love.” I remember being so blown away by “For Your Love” when first heard it on Vancouver FM radio station CFMI’s annual ‘BC 500’ marathon of the top rock and roll songs in 1980 that I immediately hopped a bus to Kootenay Loop to visit a used record shop that specialized in re-issued oldies 45s. I’d barely gotten home with the single when CFMI played “Heart Full of Soul” and I was back on the bus! Over the decades Gouldman has accumulated an impressive catalogue of material, covered expertly by himself and others.

And now he’s back with a whole album of fab new material on the just released Modesty Forbids. One hardly knows where to start applying the praise. “Standing Next To Me” melodically immortalizes his time playing with Ringo Starr’s All Starr Band, while “That’s Love Right There” hits all the right British musical hall notes, and I haven’t even gotten to the exquisite collaboration with Bill Lloyd, “What Time Won’t Heal,” a surefire hit in my view. But rather than a full album review (part of which I have sneakily inserted here as prelude), I really just wanted to bring one particular song from this album to your attention. To be sure, if you’ve liked what has gone before in the Graham Gouldman musical universe, you won’t be disappointed with any part of this new album. But to me, the album’s final cut is a particular treat. With its spare jazzy/folkie acoustic guitar arrangement and lovely light vocal touches, “New Star” is just a delightful, positive little track, evidence that this old pro has got a few more surprises left in the bag.

New Star

Modesty Forbids is available now from that swinging cool UK label, Lojinx. Find out more about the new album from interviews with Graham and his website.

Searching for the 5 O’clock hero: Paul Weller “Friday Street”


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Screen Shot 2020-04-08 at 3.34.32 PMI have an unerring knack of discovering artists or bands at the very point their career is about to implode, call it quits, or forget how to write songs. So it was with The Jam. Living in my parents’ basement in godforsaken North Burnaby I somehow got wind of “A Town Called Malice” in grade 11 and I was hooked. I was an instant Jam-o-phile! The band’s tight Who-meets-Beatles sort-of new wave sound was right up my alley. From then I only got to enjoy the two extended singles (“The Bitterest Pill” and “Beat Surrender”) before they disbanded in 1982. Sure, I signed on to The Style Council and their first few records were nice but it just wasn’t the same. Not even close. But after the Style Council split I thought perhaps Weller would get back to some Jam-like stuff as a solo artist. For the most part I’m still waiting.

Paul Weller has released 15 solo albums since 1992 and I’ve waded through them all, needle dropping every cut for signs of something reminiscent of anything from the Jam’s 5 year, six album run. After reviewing the roughly 200 tracks that populate all those Weller solo albums, I can find (IMHO) only one truly Jam-worthy cut: “Friday Street” from 1997’s Heavy Soul. The guitar, the harmonies, the subtle hook in the chorus all sound Jam-ish enough to me to be squeezed onto any of the band’s mid to late releases.

Friday Street

Perhaps you have a strong opinion about some other Weller solo cut that you think is suitably Jam-like that I’ve overlooked? If you do, please let me know – I’d love to find more!

The single file: The Stroppies, Brad Peterson, Green Buzzard, Foxhall Stacks, and more


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Screen Shot 2020-01-09 at 10.13.58 AMToday’s single file is bulging with digital 45s just itching for an e-spin. There’s a bit blues and rock and roll and, of course, strummy poprock in the rotation.

Melbourne Australia’s The Stroppies give drive to their single “First Time Favourites” on a killer combo of addictive organ runs and jangly guitars. A breezy rush of fun from their 2019 LP Whoosh. Chicago’s one man wunderkind Brad Peterson is back with his trademark easygoing Steve Miller-esque panache on “Keepsakes in the Garbage,” a poppy remake of a track from his time in a full on rock and roll band. Back to Oz with Green Buzzard and I love the variety of guitar sounds on “I Just Don’t Want to Be Alone.” There’s a lovely swinging Primitives kind of joy here, mixing jangle and crunchy lead guitar work with some solid strummy rhythm backing. In the USA’s capitol city Foxhall Stacks crank up the punky elements of power pop on “The Old Me” from last year’s Coming Collapse long player. This baby says ‘dance now’! When I first heard Business of Dreams’ opening cut on Ripe for Anarchy, “Chasing That Feeling,” I could have sworn I was listening to a great lost track from The Silencers’ fantastic 1987 release, A Letter From St. Paul. Band leader Corey Cunningham has nailed the ambience with a song that really does justice to the era yet still sounds timeless.

Dutch melodian Jelle Paulusma defies categorization with “Crying Shame,” at times vibing a strong late 1960s California pop but then effortlessly shifting to 1980s indie poprock flavour. With a killer horn section at the three-quarter mark! On “Yeah I Don’t Know” LA’s The Coolies sounds like Lucinda Williams got herself a rock and roll band and that sound is amazingly good! Super melody-tinged rock and roll, with just a bit of grit in the mix. Berlin delivers some light and frothy acoustic-y Dropkick-like tracks from Hanemoon’s latest record Mammals, particularly the obvious single, “Sunday Afternoon.” The blend of acoustic guitars here are exquisite, with an nice punch in the chorus from the vocals (get the vinyl from Kool Kat Records here). Love how the song fades into an engine idling near the end! Son Little packs subtle but strong melody into his soul sound, kinda like a Sam Cooke-meets-Howlin’ Wolf mash-up. I remember being blown away by the cross-over brilliance of “Cross My Heart” from 2014’s EP Things I Forgot. Now he’s back with another striking single, “Mahalia” from his new album Aloha and it’s a winner! Why am I not surprised the electric Shadow Show hail from Detroit? This kick ass band kick out a jam like the B52’s garaged up to the nines and ready for a dance party. The guitar and vocals on “Things I Do” are so strobe light, mini skirt and somebody go go-ing into the wee hours. Skip the club and just turn this up loud.

What’s a single? 99 cents? A buck and bit? Click on the highlighted band names to check out what these acts have to offer a bit more closely and do your part to keep the new music wheel spinning.

Another look at Eugene Edwards



Screen Shot 2020-03-21 at 10.53.43 PMHe’s got regular gigs already, serenading the ladies who win K-EARTH 101’s daily ‘Office of the Day’ contest in Yuma, Arizona and laying down hot licks with Dwight Yoakam’s back up band. So that might explain why there’s been no follow up to Eugene Edwards’ amazing 2004 debut album, My Favorite Revolution. But that’s a shame because the record seemed like just the first of many inventive, career-spanning releases (along the lines of an Elvis Costello or Tom Petty). I mean, listening to just this one album, man can this guy write songs!

Your Own Nightmare

The poprock influences are all over this record – the 1960s, new wave, Britpop – but somehow never risk overwhelming what is new and fresh here. From the opening bars of the opening cut, “Your Own Nightmare,” you know you are in for an uber cool experience when the beat just won’t let you stand still. “It Doesn’t Get Better Than This” opens like a Costello number but the melody is so Squeeze. “Congratulations My Darling” uses jangle to good effect, with a nice British invasion vibe. “The Next Time You Go” slows things down, acing a great Colin Blunstone phrasing. “At Your Place,” “I’d Like to Think So,” and “Permanent One” could be mistaken for an American version of Squeeze or Crowded House while “Shattered Flower,” “Not That Kind of Girl” and particularly “Victim at Bedtime” have the Costello chops in mixing music with lyrics. Meanwhile “Telling the Lie Again” reminds me of The BoDeans with its rustic Americana rock and roll sound.

It Doesn’t Get Better Than ThisCongratulations My DarlingVictim at Bedtime

If My Favorite Revolution is it, album-wise, from Eugene Edwards, I guess we should be grateful. It’s a stunning piece of work that does not fail on any of its 14 tracks. It sounds as fresh and exciting today as it did on release in 2004. Buy it, play it, enjoy it. And maybe drop Edwards a line of new-album encouragement while you’re at it.

Soothing Head Sounds from Super 8


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Screen Shot 2020-03-27 at 9.44.05 AMHead Sounds is another super-Cali-fantastic release from Paul Ryan aka Super 8! Imagine Ray Davies joining the Beach Boys sometime in 1968 for a one-off album outing and you kinda get the picture. Ryan aces that late 1960s California poprock sound on tracks like “Dragonfly,” with its sometimes dreamy, sometimes swinging groove and timely sentiments about ‘what if you could only live for a day’? And things just get more groovy from there. Five of Head Sounds numbers already appeared on an EP of the same name but the expansion really fills out the original sunny, sand-flecked ambiance. Dig the happy township jive animating “BoNes,” or the addictive rhythmic hook undergirding “BeBopALuLa,” as well as inspired covers of both the Beatles (“Across the Universe”) and Beach Boys (“In My Room”). There a Roddy Frame/Aztec Camera quality to “Love Like Ours,” a skipping-on-a-sunny-day feel to “Millionaire,” and a laid-back let it be vibe to “Keep the Home Fires Burning.” If sunshine had a soundtrack, it might sound like Head Sounds. Drop the needle anywhere on this disc and groove your cares away.

Super 8 has delivered the tonic we need at this particular historical moment, an album to help us ‘stay calm and carry on’. Get your smile on with a copy of Head Sounds right now.

Around the dial: Mo Troper, Danny McDonald, Pure Moods and Strange Passage


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Screen Shot 2020-03-25 at 6.29.07 PMNo pandemic is gonna stop us twisting that radio dial to find out just what is out there music wise! Today’s featured acts take ‘moody’ and ‘strange’ in all sorts of melodic and unexpected directions.

Screen Shot 2020-03-25 at 6.30.14 PMAll my favourite poprock artists are growing up. Here with another 30-something pre-midlife crisis album is Mo Troper and his wrenching pain and discomfort adds up to 34 minutes of sweet sweet listening pleasure for us on his latest, Natural Beauty. Similar to Gregory Pepper (whose recent I Know Why You Cry is another winning sonic rendering of 30-something issues), Troper is toting up his 20s shortcomings with a bevy of frank, focused, but still melodious tunes. And like Pepper, Troper’s latest may be his most mature, fully realized work to date. “I Eat” kicks things off and sets the tone for the album, with its serious theme and carefully manicured production. Natural Beauty is just full of wonderfully layered sounds, strikingly varied keyboard flourishes, and an often naked honesty on the vocals front. Then again, “Your Boy” is the other side of this record, a textbook poprock masterpiece, anchored by a brilliant La’s-like jangle guitar hook at the start which just keeps mutating across piano, electric guitar and a slew of melodic vocals. This song is the soundtrack to a 1960s montage sequence where the boy meets a girl and joins a band and then a host of happy stuff happens. More serious themes emerge on “Potential,” “Lucky Devils” and “Better Than Nothing” but still they remain perky, poppy numbers. Possible influences abound here, with perhaps a bit indie 10cc or McCartney-meets-Morrissey on “In Love With Everyone” or a McCartney/Shins combo on “Your New Friend,” while “Everything” really reminds me of Apples in Stereo’s “Seems So” period. Personal fave: the new wave-ish “Almost Full Control” with its hypnotic bass work. For me, Natural Beauty is heading straight to the ‘best of 2020’ list, a must-have-the-whole-album release.

Screen Shot 2020-03-25 at 6.31.17 PMMelbourne’s Danny McDonald is a veteran of the Aussie indie music scene, playing on over 70 different projects since the early oughts. But one listen to his latest EP Modern Architecture and you’re going to be wondering where has he been? How has a guy this talented kept such a low international profile? Right out the gate, McDonald grabs the listener full force on the supercharged power pop should-be hit single, “Cordyline,” with its Big Star hooks and Brydsian background vocals. Then things rumble-guitar along nicely on the touching, rootsy duet with Anna Burley, “The Suburb I Grew Up In.” The 58 seconds of “Judge Me for my Art, Not Where I Live” sounds a lot like a punked up treatment of a great lost Plimsouls track. “Commuters Lament” vibes just a little Jayhawks while “Keeping the Dogs at Bay” is in the same vein as Richard Turgeon’s stolid stripped-down rocked-up pop. My only complaint about Modern Architecture is that is all ends too soon!

Screen Shot 2020-03-25 at 6.32.06 PMAnother winning act from Melbourne is Adam Madric’s latest project, Pure Moods. On their debut album, Upward Spirals, there’s a fleeting Teenage Fanclub vibe at times, but on the whole this record is marked by a distinct sound – the rhythm guitar. More than is typical, it’s up front in the mix, anchoring the sonic portrait of the band. I love what sounds like an envelope of sound, the jangle drone, that opens the record on “Tide” and remains on “Backwards World.” Things shift gears with the title track which grooves along with a very 1970s soft rock rhythm guitar – that is until the Kraftwerk keyboards kick in and the whole thing slides in a different direction. There’s a tempo uptick on “Sideways Glance” and the jaunty “Sparkle” and both tunes shine melodically. Pure Moods’ Upward Spirals makes for intriguing, ultimately enjoyable listening with catchy songs that ride the tension between their lively musical performance and Madric’s somewhat low key, alienated vocals.

Screen Shot 2020-03-25 at 6.33.05 PMTaking a spin through Strange Passage’s Shouldn’t Be Too Long makes you realize just how good all those Morrissey solo albums could have been if they’d just sounded like this. And these guys are not even from some dreary northern British former industrial town but they’ve nailed the jangle alienation of the Mopster and his guitar pals. Seriously though, the songs here bubble with Smithian fun, like the energetic “Cloying Melody” with its rush of guitars and R.E.M.-meets-The The vocals. From the opening cut, “Idle Time,” it’s clear this is a really strong outing song-wise. Frankly, I can’t find a single track I wouldn’t hit replay on. Ok, maybe “Shouldn’t Be Too Long” seems special for cranking the sparkle on the guitars or “Ode” for being so Paul Simon doing Morrissey. Despite the comparisons, Strange Passage are not some wannabe something else band. They work this sound into something quite their own and it’s a pleasure to hear.

Now more than ever bands need our support to keep body and soul together! From the comfort of your self-distancing music room, check out Mo Troper, Danny McDonald, Pure Moods and Strange Passage on the internet to get their latest product.

It sounded like the end of the world


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Screen Shot 2020-03-19 at 11.56.04 AMSo far, the end of world sounds more like “The Sounds of Silence” than the rumble and destruction of a Simpsons-esque apocalyptic crowd waving torches. But if this is the end of the world, what should our soundtrack sound like? Not the obvious choices, obviously (yes R.E.M., I mean you). At the very least the end of times should  give struggling indie artists the spotlight for once.

That’s why we’re kicking things off with cheeky Portland band Streetcar Conductors. They’ve got a great new song called “Brand New Lease on Life” (which also seems timely in its own way) but our featured tune and the inspiration for this post, “It Sounded Like the End the World,” is actually from their amusingly-titled debut album, The Very Best of the Streetcar Conductors. Kicking off your career with a ‘greatest hits’ – that’s serious moxy. On the theme of worlds ending, Lannie Flowers wastes no time getting to the “Edge of the World,” a terrific song that clocks in at just a minute and two seconds. Good thing too as I guess we really don’t have time to waste. Liverpool’s Rob Clarke and the Wooltones lighten the mood with their jaunty, jangly “End of the End,” from their 2014 LP The World of the Wooltones. Who says bad news has to sound bad? By contrast, a song sure to be voted more cinematically ‘end of the world’ is The Call’s “Apocalypse,” from the band’s least successful early album, 1984’s Scene Beyond Dreams. I always thought The Call were British but they are certainly vibing their Santa Cruz roots on this track. Annabelle Lord-Patey is Elliott Smith reborn on her gentle apocalyptic ode, “Doomsday,” a cut from her wonderful debut album Polaris. Fingerpicking your way to oblivion never sounded so good. Hip fuzz rockers Best Coast prepare for “The End” in style on this song from their exquisite 2010 release Crazy for You. This swinging track will definitely put a skip in your step. And for something a bit different, Jill Sobule imagines the end of times as an orgy of not paying bills and making beds on “A Good Life” from her 2009 record California Years. Now, that sounds about right to me.

Lannie Flowers – Edge of the WorldThe Call – ApocalypseBest Coast – The EndJill Sobule – A Good Life

It may have sounded like the end of the world over this past week but we’ve been mistaken before. On the off chance we’re still all here in the days ahead, let’s help our fave artists keep heart and hearth fortified with some cash transfers via Bandcamp or your favourite internet music retailer.

Music to live through a pandemic by


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Screen Shot 2020-03-12 at 6.02.59 PMShamelessly exploit an emerging health crisis for some weak blog tie-in? Not our style friends. Think of this as a public service, designed to distract you from the impending end of the world as we know it. As someone once said, if we’re going to have to go, we might as well go out singing!

Not that we should get too excited. Phoebe Bridgers captures a bit of the aura of impending doom that’s all about on her low key but catchy “Motion Sickness.” By contrast, The Popravinas “Almost Sick” almost sounds celebratory in a country ‘my truck died’ sort of way. KC Bowman’s crew of musical friends also have a timely tune in their Preoccupied Pipers guise with the sprightly “Sick Time.” On the other hand, Swedish/German duo It’s a Musical get right to the point with the quirky “The Music Makes Me Sick” (disclaimer: no music on this site will actually make you sick). Another KC Bowman vehicle is the cleverly named Stik Pinz and they sound positively blissed out to get some “Medical Time.” Well, who wouldn’t, under our present circumstances? Can I get a doctor? That might be what Chris Von Sneidern is saying on “Doctor.” Then again, the album is called Big White Lies so who knows. It’s a lovely song and that’s all my prescription guarantees. The Lolas get a little more specific with “Doctor Apache” and they’ve pretty’d up their usual rocking sound with some lovely jangly guitar argpeggiations. Juliana Hatfield has turned out so many great, underappreciated LPs. Like Pussycat, with its topical “I Wanna Be Your Disease.” Working the Americana side of the poprock street, The River and the Road layer in the banjo to earworm up their thematic contribution, “Strange Disease” and it works! Just the musical cure we’re looking for. And for the wrap, how about some Bill Lloyd from his fab 2018 album, Working the Long Game in the form of “What Time Won’t Heal.” Hopefully, if our preparations were effective, you’ve been toe-tapping your way to distraction and forgot all about … what was that news headline?

Chris Von Sneidern – DoctorLolas – Doctor ApacheThe River and the Road – Strange DiseaseBill Lloyd – What Time Won’t Heal

Time to pull together people. Even as we practice some social distancing to survive in the days and weeks ahead, we can always let the music bring us together. Click the links above and bring some money-joy to our performers as they tart up their quarantine quarters, er, I mean, wherever they call home!