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Winter 2020 CD Swap – The Reviews

by 192 Comments

like it says on the tin

please post your reviews under the relevant group. Be nice, but if you can’t be nice at least be entertainingly disappointed!

0

Comments

    • okay, @lemonhope‘s disc up first, seeing as it was the first to arrive

      Nice spoken intro, was this added by yourself? Doesn’t sound like it belongs with track 1, which is a nice country / Americana number with some lovely horn accents. Feels like driving in the desert at night. Not that I have ever driven in the desert at night, but this is what I imagine it might be like.

      Track 2 is a lot more downbeat, and harsher on the ears. It’s got a mournful repetitive chant thing going on, but (so) I quite like it. Nothing really explicit in the track, but I feel it shares some kind of 60s sci fi undercurrent with the last song. The way the future was…

      Track 3 is another nocturnal one. The production seems to be going for the same kind of Daniel Lanois type spooky echoey ambience as Emmylou Harris’ Wrecking Ball, but the song isn’t anywhere near as good as anything on that fantastic record.

      With track 4 we begin to shuffle into the realms of electronica. Bit late 90s downtempo coffee table, wouldn’t be surprised if it was Morcheeba or Zero 7 or one of them lot. Has a nice (subdued) freakout ending though.

      Track 5 is the first one I know. A very distinctive voice, and a fine pick from an excellent album.

      And Track 6 is the second one I know! One of my all time favourite artists, although truth be told my personal jury is still out on this record. I like it and all, I just don’t ever feel the need to listen to it.

      Hmmm, this next one is the first proper stinker as far as I am concerned. Just too smooth, sounds like someone trying far too hard to slavishly recreate that seventies yachts and cocaine sound. Very much not for me.

      Number 8 is nice, with a sunny Getz/Gilberto vibe that is completely at odds with the lowering skies and apocalyptic rain outside as I type this. I think I know this song, but not sounding like this. Is it a radical remix, or a cover by someone like Nouvelle Vague?

      #9 – some pounding synth pop, definitely 80s indebted but much more modern sounding. Thought the vocals might have been Kurt Wagner, but this guy gets much more dramatic than that. Quite rousing, like it.

      I think track 10 is my favourite on the disc. Horns, building climaxes, girl/boy vocals, right up my street. It has a nice playful vibe, a bit like the Sufjan Stevens of Illinoise (as opposed to sad acoustic Sufjan or electronic experimenter Sufjan). Will certainly pay attention to the reveal on this one.

      Track 11 is the kind of indie rock I have a huge soft spot for, distorted guitars with a nice vocal melody. Pretty sure I know who this is thanks to knowing they have an album with a title that appears in the chorus here, and I will definitely look out for some more.

      I spent ages trying to crowbar a song from the artist of track 12’s second album into my mix before reluctantly acknowledging that none of them had anything at all to do with the future (despite it being a record that absolutely reeks of lost futures not taken). Quite annoyed now I didn’t think of this one at the time. Bah. A great and very underrated band. And then there’s a nice little hoedown to see us out.

      Overall, this comes across as a very carefully curated disc. There’s a distinct feel and flavour all the way through, regardless of the different sounds of the individual songs – put, say, 3 and 10 next to each other and they don’t fit at all, but the journey from one to the other makes sense. Cheers!

    • Here’s my two-penneth for @lemonhope

      1. A funky folky tune. I really like (dig) this (man). “The future is a drag” is the link I guess? Got a Rodriguez kind of feel. No idea who it is or what era, but looking forward to finding out more. Is the intro grafted on from somewhere else? There’s a few of those throughout the disc, which works well.

      2. Jars a bit this one following the first track. Not a bad thing on a mixtape tho. Lo-fi/demo sounding. Quite like it once my ears get used to it though. No idea who it is or why.

      — “see ya later fruitcake” !

      3. Spacey (sound, not Kevin). Vocals drawled and weary sounding (but in a good way that draws you in). Not a clue who it is, but I will deffo investigate more of his/their tunes when I find out.

      4. Ooh Ooh, I know it, I know it! (Gone a bit Emlyn Hughes on Question of Sport, there). It just missed the cut when I did my CD. Good choice, and flows nicely from the previous track, too.

      5. And another one I know and have been listening to recently. I absolutely love this. Apart from the odd single on the radio I know very little of his other band, but this grabbed me when I heard it recently on RadMac.

      6. This artist is probably an easy guess for most Afterworders. Not a song of his I’ve heard before (I’d class myself a casual fan, at best) and not one I’d go back to.

      7. Unfamiliar. Sounds sort of 70’s West Coast Singer-Songwriter, but recent. Pleasant, but forgettable. Vocals sound a little bit Midlake-ish? Not a keeper for me.

      8. Jazzy. Nice. Oh, but hang on… I know this… but I don’t at the same time. Vocals are from a well known pop/dance song from the 90’s (and over-familiar to anyone who watched football on Sky back then). But the music is a different version/remix. I like this version a lot and really suits her voice. I must investigate her new album too, she’s put out some cracking disco-house singles recently. Never mind the future, the time is now.

      9. A literal ‘Future’ link in the band name here. Don’t know much of their stuff bar the big hit. As Kid D mentions, they manage to balance 80’s retro synths with still sounding contemporary, same trick War Or Drugs pull off. His voice strays dangerously close to Vic Reeves pub singer at times for my ears(!).

      10. Sounds a bit like Foo Fighters to start. But then it’s female vocals, so no Foo. Chorus makes me think of the Wannadies (of ‘you and me song’ one-hit-wonder). Not really my thing, but nice in context.

      11. Bouncy bit of Indie-Pop. Jo Whiley will probably love this. No idea who it is. I don’t think it’s Sleeper, but it’s got that same 90’s-girl-fronted-band-with-4-annonymous-blokes feel. “Future Me” in the chorus is presumably the link. I’d happily hear it on the radio, but wouldn’t delve any further.

      12. Recognise the singer and sound. I’ve only got their most obvious/celebrated album (now 20 years old! A grand age…), which this track isn’t on. So I’m no superfan, but this is cool, chuggs along nicely, makes me think I should check out more of their stuff, and is a good end to an enjoyable mix.

      Overall, plenty of variety and some new-to-me discoveries to check out. It’s a hit!

    • Here’s @kid-dynamite

      1. Good start! Del-boy in the year 3030. I didn’t think of this, but would have included it on mine too, if I had been sharper of mind.

      2. The chorus “got me all fired up” is familiar, but I can’t place this. Is it Frank Turner or someone like that? It’s not my thing, but that’s okay.

      3. Oh, hello! I recognise the singer, and there’s one of his second band’s on my mix too… Don’t know this track, tho. Sounds too polished for his first band. Is it a solo track? Seems to be about tomorrow, which is about as distant a future we can grasp right now.

      4. Galloping drums lead into 90’s electronic-indie crossed with Tempole Tudor(!). Pop Will Eat Itself, Carter, that sort of thing, but not them (I don’t think?). Is it “constant future” or “country future”? Bit harsh sounding for my ageing ears(!) Keyboard hook sounds like someone practicing their scales!

      5. Not sure who this is. A bit Sundays-type jangly indie. Pleasant, but forgettable. Not a keeper for me.

      6. Conventional choice, glorious tune, and fits the theme nicely. A+

      7. Sharp left turn (this is what I love about mixtapes) into the late 90’s/early 00’s and what back then seemed to be termed ‘neo-soul’. I’ve no idea what that means. But the track sounds like an Erykah Badu/Jill Scott sorta thing. Though I don’t think this is she. Future love is the link I guess? I like it. Cool.

      8. Ambient vibes, birdsong, spoken word about sounds. Then goes into a chilled trip-hop-reggae groove. Nightmares on Wax type of thing. Not a track I’ve heard before. Doesn’t go anywhere, but doesn’t need to. I like this kind of stuff.

      9. …followed by dubbier sounds. No idea who it is or why, but that isn’t important. As you may have heard, I like this kind of stuff.

      10. Beats getting faster now. Early 90’s. I know this one, it’s great. And indeed it was on my long list, too. Band name is the future link. Wonder what happened to them…

      11. Blimey, it’s like a nightclub in here now! This one is not I know. Breakbeats. I’m guessing mid-to-late-90’s. “If I survive” is presumably the link to the future?

      12. Synthy-soundtrack. Vangellis sort of thing. Sounds like the sound of the future as heard in the 80’s. Great in context and provides a dramatic climax.

      All in all, another good pick-n-mix of styles that works as a whole. Salut!

    • thoughts on @ron-cucumber‘s offering…

      1. lots of interesting effects around a simple piano / bass motif. Not sure what I would call this, some sort of future jazz dub maybe, but I like it. Atmospheric and effective, it’s a good kick off.

      2. ha, I am sure I had this one on a previous swap CD! Did we have one where the theme was “white”? Anyway, sorry to report I didn’t like it then either.

      3. getting a bit funkier now, and in outer space to boot. Some enjoyable gibberish from someone who clearly wants to get laid but whom I suspect is far too stoned to do anything if the opportunity arose, all over a nice lengthy groove.

      4. Some sort of late night torch song, but sad to say I just keep bouncing off this one. Even after a number of listens it is just not sticking with me at all.

      5. jazzier, sounds like it could be a take on a tv theme. Sure I recognise that guitar part, but I can’t put in this context at all. I am liking these longer tunes that stretch out and find a groove. This is good, will investigate further when the tracklist is out.

      6. a sudden change of tone and pace, which is reassuring as up to now I’d been convinced that you were going to hate my disc. As you have probably realised by now, this guy features on my mix as well. Such a great songwriter, one of the best of the last forty years.

      7. Pretty sure I know who this is, but can I be sure? Music outside of time and space, one to get properly lost in. I’ve only ever dabbled in this lot really, but this is encouraging me to dive deeper.

      8. Definitely know this one! Twenty five years old now. Christ.

      9. A very distinctive voice here, responsible for one of my all time favourite albums, but I don’t recognise this one. It is good though, love his orchestrated soul workouts.

      10. I like this, the vocals are coming on like a 60s girl group on a death disc, but I can’t decide if it’s original vintage or some modern kids being clever and knowing. I like the melodrama though.

      11. another immediately identifiable voice, but again I don’t know the song. Sounds musically quite experimental for him. I know that’s a low bar to clear but using horns and samples is practically Einsturzende Neubaten compared to what he’s known for. I suspect this is the band he was in after the other band but before he went solo? This isn’t actually terrible, could they be due a reappraisal?

      12. the late great. Another favourite. The [title redacted because it’s a dead giveaway] – Live In London album from the early 80s was and is a huge favourite of mine, although I’m pretty sure it is not exactly 100% legit. Took my dad to see him a few years ago, and it was a properly joyous bucket list experience.

      1, 3, 5 are my favourites here as far as new to me music goes, but honourable mentions for 6 and 12 as well. One track aside, it’s very different to the mix I’ve sent you – let’s hope we can meet in the middle somewhere!

    • Kid Dynamite/Future 2020

      1 – Blippy bleepy, spacey intro leads into a slinky Hip hop track. The vocal tells us it’s 3030, so we’re in the future. Good start. I like this.

      2 – More noise in the intro to this one, then galloping drums. Crunching guitars and a chanty chorus. A grower. I like this a lot.

      3 – This one goes well with the previous track. Foo Fighter-ish, but older I think. Is this the same artist that’s on Deviant 808’s disc? Not sure. Good, but not as good as the previous track.

      4 – Lots of rumbling drums and a reverb heavy vocal over what sounds like a treated Didgeridoo. Ok but not as good as the previous two, so it suffers by comparison. Actually the longer it goes the more hypnotic it becomes – and then it ends just as I was warming to it.

      5 – A mellower track now, vocal reminds me of a lot of singers [which is just me saying I don’t know who it is really, isn’t it] Another grower – ‘New Year, New me is the greatest lie I tell myself’ I think we can all relate.

      6 – Well, you can’t go wrong with a classic. Unless the receiver doesn’t like the song, of course. No such worries here. Fantastic in every way.

      >>>> So, at the halfway mark, it’s going well. Can he keep it up?? <<<<

      7 – Another stylistic shift. Into slinky soul/hip hop. I’ve definitely heard this before. Great vocal and lovely laid back track. One of the saddest expressions [emotions?] there is – See you next lifetime.

      8 – Long intro – almost church organ style – but not quite. Birdsong. Spoken word vocal. 3 minutes in and we’re off on a reggae lite journey. Pleasantly chilled loping outro groove for the next five minutes. Just a little too long.

      9 – Next up is a dub instrumental. Goes well with the previous track…But it sounds like an instrumental version of a vocal track and it feels like it needs a vocal to sustain interest as it doesn’t do enough, musically to keep my attention. I enjoyed it, but wanted more…

      10 – ..and this completes the trilogy of instrumentals? Maybe. More of a dance track, this. Not bad, but not much happens and after the first minute you’re getting the same, over and over.

      11 – Sonar. Bleeps. Electronic sounds intended to convey a helicopter, maybe? Pulsing beat, higher tempo than the last track, but stylistically similar. Sounds a bit like Lamb. I don’t think it is, the vocal isn’t strong enough. My least favourite track and the longest.

      12 – Soundtrack? A terminator film? Or Bladerunner, its gone a bit Vangelis. Those are my guesses. A disappointing end. Too many instrumental[ish] tracks [for my taste]. This has the feel of a track that was chosen as a must use, which then didn’t really fit, but was used anyway – crowbarred in, if you will. I had one of those on mine – the jury is still out on whether I pulled it off 😉

      Overall this was an enjoyable listen, but for me it’s very much a game of two halves, the first half was stronger than the second and that’s always a difficult one. The urge is to stop when you get past track 7 and you know that it’s diminishing returns after that. The intrumentals work better for me if they’re mixed in, rather than clumped together, but I can see how that would be problematic, given the other tracks on the disc. But more hits than misses. Thanks Kid.

      • I think track #3 is on Ron’s too rather than mine, but he very nearly did make it onto all three!

        Just finalising your feedback at the minute, might get it posted later.

    • I was a bit late on sending mine out, but did nail the tracklisting a while ago so have been listening to the ones I’ve received for a while, so here goes with @ron-cucumber

      1) Swirly spacy intro, builds nicely as it adds in piano and big drums, then a soulful vocal. No idea who/what it is, but – despite going a bit prog-tastic and possibly outstaying it’s welcome by a minute or so – it’s a strong and interesting opener
      2) Recognise the song, but any hope I had of remembering the act has been scuppered by remembering that Nigel Planer (in the guise of Neil from The Young Ones) did a cover version and that’s taken up my headspace, maaaaan. I don’t have a huge tolerance for psychedelic wig-outs, but this one I have to come to like over the years. Future might be related to adopting the method of transport mentioned as a green alternative in the future?
      3) Lithe and slinky space-funk workout, mentioning Star Wars (possible connection) and space travel, which is obviously futuristic? Whatever the connection, I do like this rather a lot.
      4) Soulful female act. Reminded me a bit of Bloodstone’s “A Natural High” at one point, but without actually sounding much like it. Pleasant enough but didn’t really grab me.
      5) Sounded a bit like a jazzed-up version of a theme from a Sixties cowboy show, which is unlikely as that’s nobody’s idea of a futuristic tune I’d have thought? No lyrical clues so no idea of the connection to the theme, but it’s a bit of grower as it gets funkier and heavier over it’s extended runtime. Good stuff.
      6) A bit of change of pace/style. I had this on an earlier draft of my mix as I’m a big fan in all his various guises, but went for a different song with the same title as I thought there was less chance of people being familiar with my eventual choice, despite this being a “better” song.
      7) Opens a bit like some seventies Dr Who incidental music, before it gets into it’s Seventies prog-(influenced) shuffling stride properly. Thought it was going to be an instrumental for a while, but then some vocals about “Future Days” come in. No idea who it is, but – like a few other things in here – it builds nicely over a long duration while throwing in different ideas (nice light industrial rumbling noise contrasting with almost-Flamenco guitars at one point) as it goes. Not that close to the sort of stuff I listen to a lot, but not so far out there that I won’t investigate a bit further when I find out who this is.
      8) Live recording of something I quickly recognised even before the “Is this the way the future’s meant to feel?” link to the theme crops up. Top quality tuneage, and good to hear a different take on it.
      9) From a modern-day crooner to one of a considerably older (or at least more “classic sounding”) vintage. Powerful soulful voice, but not really my sort of thing. I like my soul a lot more uptempo.
      10) I know and love this. It was one of the first things I thought of (as a dramatic closer) for my mix, and one of the very last things I cut (had two songs that each only worked as the final track, and this one lost out). Everything thrown in there (including the kitchen sink) for an epic mini-masterpiece.
      11) Him from Oasis I reckon, or someone heavily influenced by them. If it is him, then I don’t think it’s an Oasis track by the sound of it, though I only know their first couple of albums well enough to be confident it’s not on there, and the spoken-word (sampled?) bit pretty much confirms that. “Flick of the Finger” from that bit sounds familiar as a title, and if that is a sample is it from some futuristic film? Enjoyed that quite a bit actually, and far more than I expected on recognising who was singing.
      12) Sassy brassy swinging finale on a good-time New Orleans (styled) high note. Probably should recognise this but it’s eluding me.

      So overall, really enjoyed a lot of that. Favourite tracks were 3 & 5, with 11 a bit of a pleasant surprise.

    • Feedback for @kid-dynamite then…

      Occupational hazard, but I did know a few of these already. Enjoyed them in their new context though, so that’s all good.

      1) Strong start, with a link to the act whose song I opened my mix with! Both kicking myself for a not thinking of including this lot in my selection, and being glad I didn’t duplicate your choice 🙂
      2) Uptempo stomper along the lines (though it’s not them) of a poppier version of someone like Therapy?. No idea about the link to the theme, but it’s fun and I approve of it heartily.
      3) Hello, it’s that man again, in solo mode this time. As I mentioned under Ron’s feedback, nearly went with one of his in my choices.
      4) Another one I recognise, and that I cut from my mix at a very late stage. These are brilliant and severely underrated. I count myself as very fortunate to have seen them live (though admittedly in their final line-up as appears on this, rather than the one for the previous album that included Sarah Lipstate), Joe the drummer was phenomenal to watch.
      5) These lot were one of the first bands at saw at the wonderful Sneaky Pete’s in Edinburgh after moving up here a couple of years ago, and they were great. This album is one of my favourites of the year and this sounds equally great out of that context.
      6) Uptempo prog-folk thing about “meeting on a ledge” (hopefully that’s not something you’re planning for the future?) that’s inoffensive enough, but not really my cup of tea.
      7) Soulful piece of modern R&B about the next lifetime (theme!). Sophisticated stuff, nice.
      8) Long sparse spacy piano/bleepy piece. Atmospherically wanders along very nicely picking up a bit of a groove somewhere halfway along the way. No clue who it is, intrigued though.
      9) Nicely dubby track with big horns that picks up nicely from the previous one. Really liked this one and definitely an act to investigate.
      10) A classic. Works well after the previous couple. Nearly went for another one of their tunes in my selection (don’t worry, last comment along those lines!) but one that had a thematic-link in the song title as well as the group name. But in the end, it wasn’t quite a good enough song to justify inclusion.
      11) Slow intro that’s compatible with the way the last few tracks have built (nice sequencing) but that then picks up the pace and goes into an uptempo piece of breakbeat-driven orchestral techno (or even an actual genre that I haven’t just made up) with a nice floaty female vocal. Liked it on first hearing and it’s sounded even better with every subsequent play. Thematic link is the “If I survive” lyric and the link to an uncertain future?
      12) Took me an embarrassingly high number of plays (ie, more than one) to recognise this given what a big favourite the film it’s taken from is. Nice closer to your selection.

      Of the stuff I didn’t know, 11 is a clear favourite and one to investigate. Thanks!

    • Ron Cucumber/Future 2020

      1 – A shimmering intro.
      Plinky piano – swirly sounds
      Mid paced drums enter, this has a slightly Proggy vibe. Plinks along for a minute and a half, then we get a Great Gig In The Sky type female vocal wailing. Final minute fade out. Instrumental apart from the wailing. So-so, 5/10

      2 – I know this song, of course. Is it a cover of the original? Don’t know who this is by, nor how it connects to the theme, but I’m sure it must somehow. Very familiar song, but one I like rather than love.

      3 – Funky opening, a vocal reciting years in the future ’2073’ etc, is it called Light Years? This is the best track so far, but it does go on a bit. Id heard enough after 4 minutes.

      4 – Next we have chilled acoustic track, female vocal. All very pleasant. I like it more after each play.

      5 – Horns and a mild jazz feel to this track. It feels like another instrumental. It’s reminiscent of a seventies sitcom theme. Another track that could benefit from being a minute shorter.

      6 – This sounds like one of the godfathers of grunge, either with his band or solo. I guess it’s called Fortune Teller. It sounds very thin after the last track. Another ‘ok’ track.

      7 – Oh, no. Another looooong track. Clocking in at over 9 minutes, this is the longest yet. After a full minute and 40 seconds a shuffling beat [Samba/Rumba?] ambles slowly into view. At 3.45 the noises are off and the track settles into a gentle stroll. Throw in a few sections of slightly less chilled noises and fade out. There’s a decent track in there somewhere – another one that could use some editing.

      8 – Everyone knows this one. Hard to dislike, although I’ve never been able to really engage with this band in any meaningful way. I appreciate all the individual elements, but there’s just something missing in the whole. I can never be sure if he’s celebrating/sympathising or mocking the people in the songs.

      9 – Soulful, peaceful hour style choon. Pleasant. Relaxing. Yep – it’s all fine, without really wowing me.

      10 – I know this one as well. Its a real downer of a song. Sounds like the extract from a teenage diary. A definite skip.

      11 – This one sounds like we might be in the twenty first century. Hmm, sounds like one of the monobrow brothers, but not the recognised ‘talent’. This is not bad actually, no chorus to speak of, but it romps along enjoyably enough. Nice spoken word in the outro. Probably the only track I’d listen to again, willingly. But wait!

      12 – And finally. Boogie woogie piano. Not Jools, or is it? Grizzled vocal. This is the best track on the disc and a good way to end.

      Well, I’m afraid this is a mid-table collection for me. It ends on a high, with the two best tracks, which is always a good thing, but what comes before is (mostly) a bit ‘like-not-love’ to my ears. Thanks, Ron.

    • Deviant 808/Future 2020

      1 – The start of this sounds like the Thames Television theme – but beamed from another dimension. The music kicks in and we have slinky Hip-Hop-lite stylings – my favourite kind of Hip-Hop. Ah, now the words start and I know who this is cos he keeps mentioning the album title. This is great. Good start.

      2 – The first minute of this track sounds like it belongs with the previous track – like it was a fake ending [a coda?] to that track? Anyway, this comes in with ringing acoustic guitar and [I think] a keyboard mimicking it. A shoegazy vocal begins. It’s a pleasing sound.

      3 – This track works well with the previous one. What sounds like a cello, pulsing bass, a lightly tapped symbol lead us gently into the song. Becoming more strident now, It has an early Go-Betweens vibe [but not them] A mournful male vocal is joined by a female backing vocal “The drying of your eyes won’t save you, this time”
      I feel like I should know who this is – but it’s out of reach. I’ve got loads of this kind of stuff, so for me it’s another good track. Three for three.

      4 – Ooh, it’s swinging sixties if that intro is anything to go by. Ah, I know the song, but not this version. But I like it. On A roll.

      5 – This one feels like we’re stepping back into 80’s Go Betweens again. Chiming guitar, lightweight organ swells – like Felt [but not them]. I like this as well, but once againI feel like I know the group, but do I? Speeds up nicely to a minor wig-out ending. A Winner.

      6 – Funky wah-wah guitah, signals a shift of style. High pitch vocal ‘It’s a future shock!’ This is great. It’s familiar, without being a track I’ve heard before, so it’s fresh. Another one where I feel like I’m gonna kick myself at the reveal!

      Well, the first half of this disc has been a triumph – More of the same quality, please.

      7 – Back to guitar/drum/bass now, but more strident here. A Scottish burr in the vocal is pleasing, he really feels what he’s singing about and he’s not happy, but it’s not a rant at the world. There’s a nice drop after the two thirds point, and then the track is gently brought to an end. Very good. Once again, I can’t believe I don’t already know this.

      8 – Very similar to the last track, but slightly more raucous. I think we’re in the North East now? Nothing wrong with it, and it works well with the previous track, but I feel like I want to hear a little more variety at this point.

      9 – ‘Christmas in the sun’ – so we’re in the future. ‘Don’t go upstairs’ is the warning. Stylistically similar to the last two tracks. It’s another winner. Slightly wacky, without tipping into annoying/novelty.

      10 – Ok, here’s the change I was hoping for. Industrial electronics. Reminiscent of The Knife, but with vocals by Karen O, or PJ Harvey [but I don’t think it is either] I can’t tell for sure if it’s actually a male or female vocal, but I digress. Lucifer gets a shout out – which is nice for him. I’m not sure what they’re going on about, but it’s intriguing and not unpleasant. All of which sounds like faint praise. I need a few more goes with this one, but I’m interested to know who it is.

      11 – Another electronic track. The vocal is mannered and reminds me of Flight Of The Conchords or Mighty Boosh. The kind of voice you can enjoy for one or two tracks, but it’s not one to build a career on. ‘The future will come for everyone’ Hard to argue with that. Another track I wouldn’t skip and another one I’m where intrigued to find out who it is.

      12 – And finally. The longest track at 8.35. Here goes. Ok an electronic ‘heartbeat’ and what sound like medical machines bleeping. A vocal sporting an American drawl – he’s relaxed, he’s imparting wisdom. I think this is a vocal designed to sound like it’s been lifted from an academic talk. Maybe? The track is gradually speeding up. I’m not familiar enough with this genre, so I’m probably miles off, but this sounds like Underworld. That kind of vibe. It’s fairly repetitive , but it doesn’t feel as long as it is. There’s enough happening to keep it interesting. Just as I’m bracing myself for a disappointing fade, the beat comes back in and saves the day.

      I doff my chapeau to you, 808. It helps that all of these tracks fit plumb within the Venn of my collection, but still, there is a pleasing flow to this disc. Maybe it’s a little safe, but that’s nitpicking. I get the feeling that these are all songs that you know well and enjoy. These don’t feel like random tracks pulled from the depths of your collection and dusted off. I await the reveal. Thanks, Deviant.

      • Wow, chuffed that it was a hit. You’re right that most of these are firm favourites, except for #11 which I stumbled across on a 2010 Uncut covermount (featuring the “New Heroes Of Art Rock” apparently) while looking for something else. I noticed the title and couldn’t remember the track, so gave it a listen on the off-chance and rather liked it.

    • And last but not least, here’s @Deviant808

      1. Excellent choice – thematically and because it’s a great track. Bit of a cross-breed this one, primates mixed with a dog(g).

      2. Not sure who this is, ambient part starts then fades out, then it changes tack to a more fuzzy-bass, poppy sound. Vocals (when they eventually kick in) sound a little bit like Ride, though I always associate them with more guitars. Lyrics seem to be about a time machine, presumably future-bound. Quite a nice sound, with a slight Baba O’Riley feel, which makes me think it may be Ride as they’ve pulled that trick before…

      3. More earthy sounds now. Wistful. Though the drummer didn’t get the memo and is bashing away like a caveman. Nice strings. No idea, otherwise, and not really my bag.

      4. I recognise the song, the Benny Spellman version just missed the cut on mine. Not sure who this version is by, but I like it.

      5. Comes in with big chiming guitars, a bit Johnny Marr-ish, but it’s not him (probably). I’m guessing late 80’s. Speeds up at the end like they’re got somewhere to go in a hurry afterwards. Pleasant enough, though not something I’ll investigate further.

      6. Oooh, this sounds like it MAY be someone I recognise. Funky. Definitely recorded in a studio, not in a FIELD. Haven’t heard this before, but I love it lots. “Future shock”.

      7. Very indie guitars. Scottish accent? His voice reminds me a bit of the singer from Arab Strap. Roll up your sleeves for winter! Nice line, that. I like the long, mellow ending. Not so keen on the first half though. No idea beyond that.

      8. Don’t know the song, but the band sounds unmistakably like that band from Sunderland wot had a big hit with a Kate Bush cover? Their name would make sense with the theme, obviously. They definitely have their own sound, don’t they? “I don’t mind” they sing… same here.

      9. Christmas in the sun… “It’s more dangerous than terrorists”, apparently. Quirky thing, this. Sort of a spikier B-52s with Sleaford Mods on vocals type of sound. Very much a listen once and once only, for these ears.

      10. Industrial sounding. Voice sounds a bit like Kasabian, but it’s unlikely him. The “lucifer’ part sounds like PJ Harvey, but it’s unlikely her. Soundtrack to a dystopian future? File under: uneasy listening.

      11. Bouncy bongos… Voice is a bit David Byrne-y. Could be him, I guess? “The future will come for everyone”. Can’t really argue with that. Music builds up quite nicely. Reminds me a bit of LCD Soundsystem, but the vocal style suggests it isn’t them. I didn’t like it to start with, but then it grows on me.

      12. Futuristic monologue over music that sounds like it was futuristic at the time, but that time was 30 years ago. Gets into more of a groove after a couple of minutes, and it sounds more sleek and modern. Basically, I have no idea when this was made! A good end-track.

      Deffo going to investigate track 6 once revealed, which is an absolute corker. And the rest made for a well-thought-out mix of different things, which is what it’s all about for me. So cheers for this, 808.

      • Glad you quite liked it, and there’s a really good chance that you have correctly worked out who number six is…

        Interesting comment on #4 as I had two versions that I chose between, neither of which was the Benny Spellman recording!

        The LCD Soundsystem comparison for #11 isn’t a million miles away, they released this on James Murphy’s DFA label, and Murphy used to be the sound engineer for this chap’s previous band…

        • Yes, very subtle guess I left for #6. Distinctive voice.

          Was your other #4 the Robert Plant & Alison Krauss version, by any chance?

          Ahh, I think I can guess at #11…. Spanish sounding first name, American Pie singer’s second name?

          • The version of #4 that I discarded was by Tony Jackson and the Vibrations. Jackson was in the Searchers for a while, including singing on “Sweets for my Sweet”, and was apparently responsible for Brian Epstein deciding not to sign them after he saw Jackson drunkenly fall off the stage at the Cavern!

            You’re correct on #11.

    • OK, feedback 3 of 3 and it’s the turn of @lemonhope

      1) Soft seventies (styled) Yacht Rock, with an opening sample that mentions the future for that all-important themic (is that a word?) tie-in. Didn’t particularly like this on first listen, but it’s been a definite grower and will investigate further.
      2) Buzzy electronic opening, but with a gentle groove to it so it doesn’t jar against the previous track. Sounds like it’s a considerably more recent track, so it’s been well chosen to flow. Nagging feeling I’m going to recognise this lot and probably have stuff by them, but I’m fairly sure I’ve not heard this actual track before.
      3) Another slow loping atmospheric piece, which is clearly a favoured aesthetic. A bit of a Dylan-esque drawl to the vocals. Left me a bit cold to be honest, not bad but didn’t grow on me as others did.
      4) Such as this one. Very seventies-style vocal, but a more modern-sounding backing, nice.
      5) Sounded a bit like Tindersticks at the off, but then I decided that his voice sounded more like him out of The National, which puts it on one of their last couple of albums I think as I don’t recognise it and they’re the ones I’ve not heard. If it is then I need to rectify that as there wasn’t any reason why I stopped paying attention and I also rather like this one.
      6) Very recognisable voice belonging to one of my absolute favourites (who I should’ve seen live in Glasgow this year – with Courtney Barnett in support for good measure – but for Covid) and taken from a stunning recent album.
      7) To be honest, this is getting a bit samey – in feel if not exact sound – now. It’s clearly a stylistic choice to keep things downtempo and understated, but it’s all a bit soporific for me and this is the low-point of the mix as it’s just There without doing much of interest for me. The dodgy guitar solo towards the end just finishes it off.
      8) Aha, something I recognise lyrically, though it’s a very unfamiliar stripped back jazzy version. I know they got chart success from their radical single mixes, so this might well be the original version? The club-friendly version I know is great, and this completely different version is fun to hear as a contrast and a good listen in it’s own right.
      9) The tempo picks up significantly here! Reminded me a bit of Icehouse and “Hey Little Girl” in places, though I’ve not heard that for a while so it could just be my dodgy recall. Something slightly off about his vocals that kept me from liking it a lot, but it is pretty decent.
      10) On first play I thought we’d done downtempo again, but then guitars and horns come in and it’s altogether more feisty, and another with sixties / seventies style to it while sounding like it’s far more contemporary. I think is actually my favourite Discovery on here, especially when the vocals go a bit Polyphonic Spree at the midpoint.
      11) Whereas this is my favourite track on here, as it’s from one of my favourite new groups of the last couple of years. Have seen them live a couple of times in Edinburgh and they’re absolutely wonderful in person. Not entirely sure why this didn’t make it onto mine now I think about it, probably second-guessing myself as I’m usually accused of overloading these things with girly indiepop 🙂
      12) A nice chugging piece of US college-rock to finish, shades of Teenage Fanclub and Buffalo Tom maybe, while being a bit more alt-country but avoiding getting as laid back as Wilco or Lambchop (neither of whom I like) etc. Approved of this from first listen and it sounded better each time. Suspect it’ll be by someone whose name I recognise but have never listened to properly, so will definitely investigate post-reveal.

      Ended up enjoying this more than I thought I was going to at the mid-point. It’s clearly a definite stylistic choice for a carefully crafted mix, but for me it probably needed to up the energy levels a bit earlier than it did, especially as I didn’t like 3 and 7 at all. Though they were the only skippable tracks, which is a pretty decent hit-rate. Will definitely check out #10 and #12 as a minimum. Thanks!

    • and it’s time for some reveals!

      Lemonhope sent me his track listing, so I’ll just copy his message here. (I don’t mind if Ron and Deviant want to post theirs themselves once all the reviews are in, or send them to me to post, makes no odds either way really). Take it away, Mr Hope!

      Some tracks have obvious ‘Future’ links – some have ’Now’ links
      Because…
      ‘There is no future, only now’
      Spoken word intro by Eckart Tolle
      Track 01 – Florence-Jean – Damien Jurado – The Horizon Just laughed [2018]
      ‘Dear Florence-Jean, the future is a drag’

      Track 02 – Before The Water Gets Too High – Parquet Courts – Wide Awake! [2018]
      [Climate change – what will the future bring?]

      [“See ya later, fruitcake” – by The Jerky Boys]
      Track 03 – Come To Me Now – Kevin Morby – City Music [2017]

      Track 04 – Futures – Zero 7 – The Garden [2006]
      the instrumental breakdown contains part of a song from ‘The Amazing World Of Gumball’, [‘Each year the future’s looking pretty grim…’] probably only noticeable if you’re aware it’s there

      Track 05 – One More Second – Matt Berninger – Serpentine Prison [2020]
      1 more second, 1 more week, 1 more year, 1 more lifetime.

      Track 06 – Waiting For You – Nick Cave & The Bad Seeds – Ghosteen [2019]
      What is he waiting for? – You, to return [in the future] also, ‘A priest runs through the chapel, all the calendars are turning’

      [30 seconds of noise intro to track 7 lifted from Crash And Burn (Work In Progress) (Mix) by Sheryl Crow]

      Track 07 – But For Now – The Beauty Room – The Beauty Room ll [2012]

      Track 08 – The Time Is Now [f. Moloko] – The Take Me To Rio Collective – Take Me To Rio [2016]

      Track 09 – For Sure – Future Islands – As Long As You Are [2020]

      Track 10 – Present of Future End – The Most Serene Republic – Population [2007]

      [Countdown intro taken from I’ve Been Waiting For Tomorrow [All Of My Life] by The The]
      Track 11 – Future Me Hates Me – The Beths – Future Me Hates Me [2018]

      Track 12 – Now It’s On – Grandaddy – Sumday [2003]

      [Outro – I’m Gonna Live Anyhow ’Til I Die by Miles & Bob Pratcher]

      • Oh, Damien Jurado! I though it was an older recording, 70s perhaps. I’ve got a couple of his tracks that I like (QACHINA and Silver Timothy), but don’t know much about him. Will investigate further! Any pointers?

        Similar tale with Parquet Courts – really like Freebird 2 and Wide Awake, but don’t know much more of their stuff than that.

        The Time Is Now [f. Moloko] – so are The Take Me To Rio Collective a band who did new music to the old Moloko vocals? Or is this the original? Love this version either way.

        • As you enjoyed Florence Jean, you can’t go wrong with The Horizon Just Laughed. He has released two more since then, both great. In fact there’s no duds in his catalogue.
          Parquet Courts – I only have one album and both of the tracks you mention, along with Before The Water Gets Too High, come from the same album. So, I can and do heartily recommend ‘Wide Awake’.
          I know very little about The Take Me To Rio Collective, I can’t even remember how I came to have this album in my collection. I know there was a connection to the 2016 Olympics and I see from the interwebs that it’s the same people responsible for the Rhythms Del Mundo albums, which did a similar trick. It sounds like they recorded new backing tracks and then manipulated the original vocal to fit.
          If you would like files of the original albums I’d be happy to oblige. So long as you don’t mind Dropbox [or some other file sharing medium] being involved. PM me if you would like anything. Same offer to anyone and everyone who might be interested.

    • And my selection was

      1) Deltron 3030 – ‘3030’

      2) Japandroids – Near To The Wild Heart Of Life

      3) as everyone realised, Bob Mould – Tomorrow Morning (from the solo LP Beauty & Ruin, which comes highly recommended to all you Sugar and Hüsker Dü fans)

      4) Parts & Labor – Constant Future. Kudos to Deviant for getting to see them, I wish I had. I only discovered them with this album, and then they promptly split up

      5) Sløtface – New Year New Me. Norwegian indie punk. I was due to see them at the end of March this year. Didn’t.

      6) Fairport Convention – Meet On The Ledge. Afterword catnip, I thought to myself.

      7) was indeed Erykah Badu, well done Ron! The song is Next Lifetime from her Baduizm debut

      8) Ott – One Day I Wish To Have This Kind Of Time. Dubby ambient electronica I discovered after stumbling into the dance tent late at night one Bearded Theory. Think @retropath2 might be a fan as well? Anyway, it’s all lovely chilled stuff, with top notch melody and production work. Any of his albums are recommended, but this is off the most recent, Fairchildren.

      9) Butch Cassidy Sound System – The Coming Storm. This is off a compilation album called High Fidelity Dub Sessions. Never heard anything else by Mr Cassidy, but the album is in a similar vein and well worth a go if you liked this

      10) The Future Sound Of London – Papua New Guinea. Another obvious one, really (and I know it’s going to turn up on at least one more mix) but it is a classic

      11) Hybrid – If I Survive. I think Deviant’s description of it as orchestral breakbeat techno is bang on. Probably the most tenuous link to the future on the mix, but I maintain that the “if” indicates something happening after the present, and that’s good enough for me

      12) Vangelis – Blade Runner End Titles. Everybody guessed Vangelis, but as far as I can see only one realised it was actually Blade Runner. That film feels like the future to me, even though it is now set in our past (November 2019!)

      thanks for playing and listening!

    • Okay, Here’s my reveal (“close your eyes now if you don’t want to know the scores”):

      1. Amorphous Androgynous – The Emptiness Of Nothingness
      AA are an offshoot of The Future Sound of London (as featured on Kid’s mix). That’s the future link in a round-the-houses way.

      2. Tomorrow – My White Bicycle
      Band name the very literal future link. No idea if Neil from the Young Ones did cover this or not as mentioned – he definitely did release a single of Traffic’s Hole In My Shoe though.

      3. Marvin Gaye – A Funky Space Reincarnation
      I think “stoned” was mentioned in one review, and they’re probably right.

      4. Evie Sands – Maybe Tomorrow

      5. Eddie Harris – Don’t You Know the Future’s in Space
      Not my favourite of his, chosen for the title. I get the sitcom soundtrack comparisons! Worth investigating Mr Harris if you like this sort of thing, though his work ranges widely from straight jazz to psychedelic singing through a sax to stand up comedy (really! though avoid, it’s truly awful).

      6. Sugar – Fortune Teller
      Bob Mould’s proved popular in this group, hasn’t he?! I’ve not followed his solo stuff, but that’s a great track on Kid’s mix. Beauty & Ruin is the one to start with then is it?

      7. Can – Future Days

      8. Pulp – Sorted For E’s & Wizz
      “Is this the way the future’s meant to feel…?” Though this is indeed the studio version, not live (I think the crowd noise they added at the start might have led it to being mistaken for a live version?)

      9. Issac Hayes – Our Time Will Come

      10. The Shangri-Las – Past, Present and Future

      11. Beady Eye – Flick Of The Finger
      “The future gets written today”. Surprised this went down as well as it did! Whether Beady Eye are due a reappraisal as Kid suggests (perhaps with tongue in cheek) is a stretch, though there are a few gems in their albums – Start Anew and Soul Love are worth a listen.

      12. Dr. John – Let’s Make A Better World
      After the end of track 11, I wanted to end on a more positive idea of the future!

      • Re Bob Mould – I can’t comment on Beauty & Ruin, but his first solo album ‘Workbook’ is a cracker, and widely regarded a bit of a classic. [His most recent ‘Sunshine Rock’ is the only other one I have, and it’s excellent]

        • Workbook is great I agree, I personally like the next one (“Black Sheets of Rain”) too, but it doesn’t seem to be a favourite of too many other people.

          Also, he’s put out another one (“Blue Hearts”) since then (or even two if you count the live “Circle of Friends” Record Store Day release) and he’s *very* angry.

        • If you like Sunshine Rock, you’ll like Beauty & Ruin for sure. I think it (B&R) is probably my favourite of his solo records, but Sunshine Rock would very likely bother my top three. Haven’t spent long enough with the new one yet, but early listens are good.

      • That shows that it’s been a while since I heard that Pulp track, as I’d completely forgotten the “live” noises at the start! I do remember thinking halfway through that it did sound a bit polished for a live version 🙂

    • slightly delayed, but here finally are my thoughts on @deviant808‘s mix to finish up the group. Thanks everyone, it was a pleasure.

      1. Not much of a mystery this track, the first word you hear is literally the name of the band! Good start though.

      2. lovely dub bass line…that almost instantly fades out. The rest of the tune is comes on a bit stadium post-punk, would that were such a genre. Typical early 90s shoey indie vocals, Mark Gardener has a lot to answer for

      3. Strings and boy / girl vocals, two things I normally like a great deal. This one stays just about the right side of twee, thanks to some useful distortion throughout

      4. Immediately a bit perkier. Quite upbeat, happy and jolly, hence not really my thing but I’d probably dance to it if I’d had a few drinks.

      5. Big 80s chiming guitars, sounds almost like Pretty In Pink for a moment. Good build to the climax

      6. Chicago by way of 2000AD. Lovely stuff from a master

      7. Scottish indie bands, eh? I swear you get rid of one and another half dozen spring up. This has a pleasing bite and good energy, before slowing down to a drowsy fade, like the song itself is hibernating. Might be my favourite so far on the CD

      8. Similar sound, but moving just a little bit south. The link here is in the band name, right?

      9. New wave jerkiness. Don’t know this at all, but it would have fitted right in between Foetus or the Violent Femmes at one of the alternative clubs I used to go to thirty years ago. Big fan of this one.

      10. Pounding drums, industrial but a bit more organic sounding than the likes of Skinny Puppy or Front Line Assembly, like somebody actually hitting a bin instead of sampling somebody hitting a bin. Like everyone else said, the vocals are a bit Polly Harvey, but them aren’t. I did know this track already, but it took her saying a special word in the lyrics to remind me. Must dig the album out again, I really liked it but haven’t played it for a few years now.

      11. I like the drums and percussion a lot here, as well as the fizzing electronics. The vocals…not so much. An instrumental version would be in the running for best track here.

      12. oh my god, I know this. Haven’t heard it since about 1994, but that first statement triggered all kinds of memories…that said, I’m not sure this is the version I was familiar with. Is it a remix, or maybe someone else using the same speech? I will move mountains to find out. Not fussed which one, I will move any mountain.

      So, the main winners for me are 7, 9, 10 and so nearly 11, but there’s no real dogs here. Thanks!. Quite interesting that it followed a vaguely similar path to mine, starting with some hip hop, going all guitary for a stretch and then rounding off with a run of electronica. What does that mean? Probably not a great deal….

      • I’ll take “no real dogs”!

        #7 – Scottish Indie bands, there was a spell when I “discovered” a whole load at once (before even moving up here), with big favourites being The Twilight Sad, Frightened Rabbit and… this lot. Twilight Sad have continued to go from strength to strength, Frightened Rabbit were consistently excellent until the tragic loss of Scott Hutchison, but these fell away a bit after a first couple of fantastic albums. They’re still interesting and worth a listen, but no longer essential.

        #8 You’re right, link is the band name, plus this particular track being about Robots which still sound futuristic.

        #9 are one of my absolute favourite current groups, being formed out of the ashes of another big favourite. Link is from their name and also the “I have seen the future” lyric.

        #10 Clever use of highlighted text to show you recognised it 🙂

        #12 No need to move those mountains, it is them rather than anyone else using the same speech. I had an idea people might’ve heard this so did go with a remix to spice it up.

        Just about to head out and walk my actual dog, big track / connection reveal later…

    • Big reveal then…

      First up, if you were wondering about the cover art, I haven’t got access to a printer at the moment, so they’re the most vaguely futuristic pictures I could find in an old copy of Digital Photographer that was about to go in the recycling. Painstakingly (ahem) cut out and randomly distributed. So, you have each have a unique artefact there. You’re welcome 😊

      1) ‘Welcome to the World of the Plastic Beach’ – Gorillaz with Snoop Dogg & Hypnotic Brass Ensemble (Was struggling for a decent track to open this, until I thought of this at the last minute, and realised that it led nicely into the next one and the strange slightly-incongruous dubby opening bit that I’d been thinking about editing out until that point.)

      2) ‘Time Machine’ – Ride (Theme link being time travel, presumably into the future)

      3) ‘Building For The Future’ – Ballboy (Obvious link being the title, which was pretty much unguessable. All the Ballboy albums are all great, but this is from a standalone EP rejoicing in the title of “All The Records On The Radio Are Shite”)

      4) ‘Fortune Teller’ – The Del-Rays (After we’ve crossed off all the other versions in the thread, we come to the actual version I used lifted from the excellent “The Fame Studios Story (Home of the Muscle Shoals sound)” compilation. Unfortunately, the otherwise comprehensive sleeve notes are a bit sparse on this one, the most interesting comment being that their name is derived having two members called Ray. Link of course is that a Fortune Teller apparently predicts the future.)

      5) ‘Let’s Make Some Plans’ – Close Lobsters (Jangly late Eighties indiepop, which has been a perennial favourite genre. This is an early single from just before their classic “Foxheads Stalk This Land” debut album, which is highly recommended. Theme link being about making plans for the future. )

      6) ‘Future Shock’ – Curtis Mayfield (Nuff said)

      7) ‘Roll Up Your Sleeves’ – We Were Promised Jetpacks (Chosen as their name relates to that old joke about the unfulfilled promises of imminent Jetpacks In Every Home by the likes of Tomorrows World.

      This is a single off their excellent “These Four Walls” debut album.)

      8) ‘Robot’ – The Futureheads (With hindsight this probably could’ve been left off to reduce the amount of guitar tracks, should’ve gone with that Visage cover of “In The Year 2525” that was one of the first things I put on the longlist).

      9) ‘Cosmo’s Ladder’ – Future of the Left (FotL were formed by lead singer Falco (not that one, it’s a nickname based on his real name of Andy Falkous) after his previous band – mclusky – split up. They’ve been described as The Welsh Big Black (which is a good as description as any) and are a ferocious live act. Falco also releases stripped back home-recorded albums as Christian Fitness from time to time, which are equally worth checking out.

      Theme link – in addition to the band name – was the “I have seen into the future, everyone looks slightly older” lyric, which I am very fond of.

      mclusky have been doing a few reunion shows (without all of the original line up admittedly) and their Edinburgh show has been my personal most annoying casualty of the Great Covid Gig Cull, having not seen them first time round).

      10) ‘Neuromancer’ – EMA (William Gibson’s “Neuromancer” was the coolest possible future for a while, though is a bit dated now. We don’t talk about the Keanu Reeves film version either. EMA (or Erika Michelle Anderson as her Mum calls her) has three great albums out, including “The Future’s Void” that this is taken from for extra theme points.)

      11) ‘The Future Will Come’ – The Juan MacLean (as discussed above)

      12) ‘Re:Evolution (BTP Vox edit)’ – The Shamen with Terence McKenna (Somehow this made it to #18 in the proper pop charts. I wonder how many people bought on the back of “Ebeneezer Goode” and either hated it or had their minds blown?

      As far as I can make out, the Terence McKenna monologue was specially recorded for this rather than being an existing speech.

      While checking that, I’ve discovered that there’s a Future Sound Of London remix and I’m now a little depressed that I didn’t know that before, as I’ve missed out on both hearing it years ago and being able to use it for a double-whammy on the theme front. )

    • I ‘kind of’ saw Deviant808’s track list but have purposefully ignored it, to enable me to ‘geg in’ in proceedings with the following:

      Now that all official reviews are in for @Deviant808, I shall add my two-penneth. As mentioned elsewhere, we go back a longways – it was he that got me into the Velvet CD swap and subsequently this Afterword CD swap. We always have an illicit secret swap behind the scenes just for laughs. Our respective reviews illustrate that whilst Deviant’s tastes lie firmly in the orbit of the new, the experimental, the ‘out there’ and the ‘pushing the envelope’, my sedate preferences are cemented toward the epicentre of the nice, the safe, and the predictable. 😉

      Track 01: The old Thames Television ident tune morphs into a low-fi, hip-hop mood music that name-checks ‘Planet Of The Apes’ and borrows Gill-Scott Heron’s ‘The Revolution Will Be Televised’ lyric. I’m not a fan of this genre. I don’t personally most consider rap/hip-hop output as ‘songs’ – they are rather ‘street poetry’ (albeit frequently powerful, passionate, clever poetry) spoken to music. I can appreciate the talent but I don’t really want to listen to it when I’m hoping for a proper song. Consequently, my comments for such tracks on a CD mix are only ever going to be negative – sorry!

      Track 02: Rocky guitar heralds a tune that borrows heavily from the ‘Echo Beach’ verse chord sequence. The lyric that drops about half way through sounds somewhat shoegazy, which is likely a clue to the band. Not bad – at no point did I feel the need to skip – but give me Martha & The Muffins over this any day.

      Track 03: Slow, mournful violin begins another shoegazy number. The relaxed vibe and waif-like female harmony vocals are nice and dreamy. Floats along pleasantly without really going anywhere in particular – but I still quite liked it. Sometimes it’s the journey, not the destination, that matters. 😉

      Track 04: A groovy 60s bossa nova dance tune, brass section and all. Never heard this before but it immediately grabbed me – especially the hip, beatnik sax solo. Far too short. Sweet, Daddy-O.

      Track 05: I was wondering when the indy-pop clashing guitar tunes were going to make an appearance! Nice, summery-sounding (90s?) fayre. A very James-ish but it’s not Tim and I don’t recognize the song. Can see me listening to this again, lying on the grass, under the sun, in the park, if we ever get out of lockdown. Something to look forward to.

      Track 06: Instantly recognizable vocals from this much-missed soul/funk legend. Now I know where 2000A.D. got the title for its occasional one-off ‘filler’ strips. A perfect example of CM’s genius. I could listen to this all day. Wonderful.

      Track 07: A more modern-day Indy rocker this one, with a definite Scots inflection to the voice. “Roll up your sleeves, we’re heading for winter” contemplates the forthcoming season – hence the theme link (?). Another decent tune but the lead singer is a tad shouty and has that annoying glottal blip upwards at the end of every line; a barely suppressed, recurring hiccup – but the gentler, quieter mid-section ultimately won me over. 🙂

      Track 08: Fierce drums swiftly announce a punky tune about a Robot. Sounds much like The Jam in their fledgling years – but the production quality screams, “more recent, you blurt!”. So I am going to gamble on a 21st Century popular beat combo. Not bad.

      Track 09: This one was more of a struggle to endure, discordant twiddly electro-organ and sinister guitar/vocals wade their destructive path through whatever wisp of a tune lies beneath. Pretty bad. The thankfully-swift end was akin to the ‘Relief at Mafeking’.

      Track 10: The main feature of this next one is heavy, driving back-beat of drums, given some severe ‘welly’. The purposefully-distorted female vocal had me thinking ‘PJ Harvey’ but I’m not so sure. If you’re into that sort of thing, you’re going to love this one – but as oft repeated, I’m more of a ‘melody’ fan. What was your immortal phrase – “Nice tunes by nice people with words that mean something”? Bang to rights! 😉

      Track 11: What to make of this one? An uber-repetitive cycle of the same four notes (i.e. the same note repeated four times; repeated) and percussion mix are eventually joined by a David Bowie wannabe predicting “The Future Will Come For Everyone”. I wish it would come for you mate, and hop to it. Tuneless electro twaddle. My advice to the singer: go listen to some old Pete Shelley and hear how it’s done.

      Track 12: Spoken philosophical waffle overlays a slowly accelerating electro-dance beat. I happen to know who this is, and though I love a lot of their stuff, sadly this is an exception. A shame you couldn’t have shoe-horned in ‘Mad About You’ or ‘Romantic’ instead – but a theme rule is a theme rule I guess!

      Summary: A truly varied mix so likely something in there for everyone. Overall it was a bit like a pandemic ‘wave’ bell curve for me, firmly peaking in the middle. Like Bogart’s mix it was a love/hate experience – the good stuff is great, the rest ‘less so’. But then it’s only ever opinion isn’t it? And I know you wouldn’t expect anything less… 😉 Thanks again for another secret swap! 🙂

      • Thought it was safe to do the reveal as I knew you’d already written your feedback, which was generally positive so I’ll take that 🙂

        Not sure I’m actually that experimental or envelope-pushing, especially as this got a “safe” comment elsewhere in the feedback! I suppose most of it was a little more Crowd Pleasing than usual (not that you’ve gone with the crowd from your comments, maybe it’s you who’s the outlier in this context!?!?). One person’s Jim Thirwell is another one’s MOR I guess… 🙂 Who knows? I didn’t sleep well last night. (And neither did you from the timestamp on this!)

        Anyway, I’m rambling…

        #3 Probably the first time Ballboy have been described as shoegazey! Hard to imagine Chapterhouse recording something called “Godzilla Vs The Island of Manhattan (with you and I somewhere in-between)” 🙂

        #6 this attracted a couple of 2000AD references. Nerds! 😉

        #9 and #10 (along with the antipathy to anything hip-hop inflected that’s a given) were the two I mentioned that I knew you wouldn’t appreciate.

        #12 Urm, not sure I understand that comment about “Mad About You”.

        • Lol – you can ignore my comments about #12 – turns out I got two tracks/artists mixed up so no wonder you were confused!).

          P.S. Always happy to be labelled a Nerd! Splundig Vur Thrigg!!!

    • OK, here’s my response to the CD I received from @moseleymoles.

      This compilation was something of a challenge, in that my initial reaction was fairly negative, but the standard ALP (Afterword Listening Protocol) approach of ‘minimum of 6 listens before you condemn something utterly, collapsing into a tirade of apoplectic ridicule’ allowed me to mellow my verdict to a large extent.

      Ultimately, it turns out that for me there are 5 definite “SKIP” tracks, each of which I’ve found to be a waste of ones and zeros. So, the mix is more than 50% interesting and definitely worth hearing more than once – that’s a pretty good batting average for one of our Afterword jobbies!

      Here we go then, I’ve deliberately not explicitly identified the culprits of the ones I know, though I may have dropped a few clues in my commentary, and these are my spontaneous and unexpurgated notes from the latest run-through after several previous listens:

      1) Instantly, this sounds like a sixties recording. “I Hear A New World” seems to be the title. Disturbingly, Pinky and Perky appear to be on backing vocals. There’s a simple lyric and a rather fetching, vaguely tropical rhythm and melody. Lots of other odd sounds hidden under the mix, and only really evident in the run-out. This reeks of Meek, but I can’t tell if it’s the real thing or a pastiche. Good fun, a great start.

      2) A funky little number next. The main theme sounds like it’s being played with a glorified stylophone. Rolf on E. Good bass line, some funky drums and a nice loose piano part. Very listenable in a kind of Vision On fashion. Haven’t a clue who this is or even when it was made. Could easily be anytime from the 1970s to today. Happy little track.

      3) The band here unceremoniously grab proceeding by the balls and riff their way into the cockpit of the compilation with a heady mixture of testosterone, optimism and unembarrassed boyish charm. IKWTI (I Know Who This Is). This rocks, most bodaciously.

      4) OMG what is this. Electronic diarrhoea. Ghastly. I’m hurriedly reaching for the SKIP button here. 20 seconds of this is 20 seconds too much. IDCWTIIS (I Don’t Care Who This Is, It’s Shite) SKIP.

      5) Ah, more weirdish stuff. There’s a Visage like echo in the metronomic structure of this one. The intro sounds odd, then morphs into something that sounds as if it belongs on a Kraftwerk compilation. In fact, the Kraftwerk influence is ALL OVER this one. A fun track, possibly from the 80s, but as that might be considered retro these days, it could have come out last week. Some bloke is whacking what sounds like a scaffold pole in the background at the fade. Bit of a laugh this one.

      6) Interesting little number next. Not a cheery tune. Nicely spoken politely prim young woman talk-sings a doomy little bit of sixth-form poetry over a choppy damped guitar and an electronic keyboard. It’s rather twee, but the deeply annoying, constant and unwavering high pitched whine in the background all the way through is a right PITA. Once heard, swiftly forgotten, I’m afraid. Very nearly a SKIP first time around, distinctly a NEXT and then a SKIP for all further plays.

      7) Starts like an 80s chart hit… Aha! Instant recognition. It’s the puzzlingly brilliant IKWTI (I Know Who This Is) at the absolute height of their powers, in all their cheery uniqueness and overflowing cartoon originality. Chanese nerdles! Rekerds! Hot Tamale! Athens GA! Termaters! Yeah! Awesome track. More like this please! Always room for more lobsters.

      8) Argh. Bloop. Bleep. What a criminal waste of capacitors and diodes. What unearthly crap is this? Unhesitatingly I reach for the button marked SKIP with more than 5 minutes of this shit left to run. Shudders.

      9) More electronica. What is it about electronica that qualifies it for a compilation themed on “The Future”? We’ve had electronic music since long before Walter became Wendy, there’s nothing futuristic about it anymore! Whatever, this is electronica of a recognisably superior kind. There’s some soul evident here. This sounds like it should be on the Ninja Tunes label. Is it The Herbaliser maybe? I go through phases with this stuff, finding it especially good earphones food whenever I am obliged to spend time commuting by rail. This is less organic than the Ozrics (my other go-to outfit for long train hauls) and much more in a pure digital realm. This is complex, interesting and involving; it’s distantly familiar enough to make me I think I might even have this on a disc – I like this, and I’d like to know who it is.

      10) This sounds like an abandoned work-in-progress salvaged from a discarded hard drive belonging to Will Gregory. A piece that didn’t quite stand up enough to be enhanced by sexy Alison’s magic vocal elaborations. Second hand GG samples? Didn’t The Timelords do that to death? What a dull old dirge. Yawn. SKIP.

      11) Oh my goodness. Doof doof music. F*** ***. Grindingly dull, this is a big fat SKIP.

      12) Choooooon. The gayly melodic opening of this final track makes me think this may be one of the more obscure Biederbecke tapes. This is about 100 years old I’d guess, and in terms of repeatability, foot tapping jollity and musical inventiveness it pisses all over the SKIPs on the compilation and puts them to utter shame. Nice finish!

      What fun this is. I really hope you can find something on my disc that you don’t want to SKIP from the get-go! I’ve finalised the track listing and I’ll be burning this weekend once the artwork is done.

      Bring it on, @wilson-wilson!

    • First up, @moseleymoles.

      Moseley Moles – the Future
      1. I recognise this one from the title, although I’ve never heard it before. Sparse drums, twangy guitars, pitch-shifted vocals, a little bit of organ. Something slightly off-kilter about the whole thing. Very atmospheric start.
      2. Funky little number, quite enjoyable but I find the tone of the lead keyboard quite annoying. Sounds like a fairly decent soul instrumental aside from that.
      3. Galloping bass, squalling guitars, drawled vocals, all just a bit too rawk for my tastes.
      4. 80s electro, like a very up-tempo New Order. I quite enjoyed this, it felt like the theme from some action show in places.
      5. More 80s electro, but from the gloomier, gothier end. Sounds like it was probably on Mute. Metronomic drums, cold keyboards, clanking noises and a not particularly strong vocal disguised by effects half the time. I really liked this one.
      6. Pretty simple, just a guitar, vocal and a keyboard burbling away in the background. This was fine, but there’s something a bit jarring about how the vocals sit over the rhythm of the guitar, and it was so short it didn’t really go anywhere!
      7. This is great, I recognised the band from the vocals but had never heard this before. In fact I’ve never heard anything beyond this band’s big hits, which I should probably rectify. Joyously goofy.
      8. Squelchy acid techno, reminded me a bit of Aphex Twin or something else on Warp. Or maybe Orbital, something about the high, tinkly melody reminds me of them. Another good one. Sounds very familiar, think I’m going to kick myself when I find out what this is…
      9. Ah, finally one I actually know! I had a track by this artist on my shortlist until the last minute – the big hit it seems a couple of other people had too. Just great, very atmospheric ambient techno, so much going on in there. I spent a lot of time listening to this album on headphones a long time ago.
      10. Again I think I recognise the vocalist, but not sure if this is his main band or something else – it doesn’t sound much like them, or at least my idea of what they sound like. The first time I listened to this CD it was on in the background while my kids pottered about. They didn’t mention the music at all until the voice appeared on this, at which the five year old asked me to switch it off immediately! I liked it more than that. More electronics and it builds nicely.
      11. Starts off as fairly generic piano house. Gets more interesting when the vocal comes in – the juxtaposition of melancholic voice and melody against quite ‘up’ music. Again I recognise the voice – I know her more for her work with Massive Attack than anything else. After the beginning I was surprised at how much I enjoyed this, the music keeps subtly shifting and held my attention over the course of nearly ten minutes and I like her voice.
      12. My lack of knowledge of jazz strikes again, I never know how to describe what I’m hearing! Wouldn’t sound out of place in a Woody Allen film. Very cheery music, if not lyrically. ‘Take your tomorrows and give me today, for your tomorrow is too far away…’ I’ve been singing this round the house for days now, which is always a good sign!

      I liked most of this and there was nothing that was a hard skip. I’m definitely going to check out more of number 7, and I’m keen to find out who’s responsible for 5, 8 and 12.

      @vulpes-vulpes I’ll hopefully get to yours in the next couple of days, work/kids/general knackeredness permitting.

      • Here we go, @vulpes-vulpes. This came with rather snazzy cover and and a nice bit of blurb on the back setting up the theme in contrast to my own kind of rushed, just-scribble-your-name-on-the-disc effort.

        1. Starts with staccato drums, slide guitar and what sounds like a harpsichord. Early 70s prog I’d say. Not bad.
        2. This is better, reminds me of Royksopp or someone like that. Chilled electronica. Keen to find out who this is.
        3. Not so keen on this. Just a voice and a guitar. The song’s not too bad and clearly she can sing but it’s all so overwrought. My least favourite on the CD.
        4. Another good one – live-sounding hip hop, good mix of guitars, horns and scratching, socially conscious lyrics. Makes me think of the Roots but not a song I recognise.
        5. I wasn’t too keen on the first few minutes of this, but then the rhythm changes and I was on board. More early 70s progressive stuff I’d guess, about the Eyes of Nostradamus. It’s long but it kept me interested even during an extended, spacey acoustic guitar wig-out. I was actually quite excited when the electric guitar came back in towards the end. Good use of handclaps. I really liked this.
        6. This is familiar but I can’t place it. Relatively recent I think. A driving bass and spacey keyboards. Doesn’t really go anywhere but it’s atmospheric and builds nicely at the end.
        7. Acoustic singer songwriter. Finger-picked guitar, some jazzy bass and nice harmonies. It was fine but didn’t really grab me.
        8. Another epic! More prog, but funkier than I’d normally expect. It’s nearly 10 minutes and there’s a whole bunch of sections but it works (except the fade out/in about halfway through which was a bit jarring on the first couple of listens). The voice reminds me of Peter Gabriel in places. This is probably my favourite from this CD. I’ve more or less convinced myself I’m not interested in prog but this is great.
        9. OH MY GOD WHAT IS THIS? I know this, I’m pretty sure I’ve listened to it recently but I just can’t bring it to mind. It’ll be a relief to put a name to it. Two short ambient bits, the second of which is particularly lovely. Is that a guitar? Another winner.
        10. Jazzy acoustic number, just guitars voice and bass. I like the contrast of the sci-fi lyrics with the music and I like her voice but not fussed about it musically.
        11. Another sparse, jazzy number – but this one has a hint of menace in the low growling sax. I really like this too, it’s very atmospheric.
        12. Another instrumental. Starts with piano and bass then layers on spacey effects before picking up nicely, then just as it gets going it fades out and starts all over again.
        13. I guess like most people I know this from a movie – a movie set in a distant future that we’ve long since passed in real life. Still very dramatic and stirring.

        I really liked almost all of this – lots of it outside my usual comfort zone. I’ve played it lots over the last few weeks and track 3 was the only one I felt the need to skip after the first few listens. There’s a couple I want to follow up on – 2, 5, 6 and 8.

    • My thoughts on the @vulpes-vulpes baker’s dozen. Overall only one track seriously outstayed its welcome and was always entertained, if not what I would choose to be entertained by…

      1.Sixties. Late sixties. English pop-rock with a touch of psychedelia. Doesn’t do much for me.
      2.This does! Sheffield, late 80s early 90s. If this was not on Warp I’ll be very surprised. Brilliant. I may well have this on the eponymous album by the BassEnd sinewave shakers, but isn’t that one of the points, to remind you of how great stuff is when it surprises you.
      3. Screechy lady with your acoustic guitar. Surely it must hurt your voice to do that. Acoustic guitars and screechy ladies are not my thang.On second listen it’s not actually bad, apart from maybe the screeching.
      4.Loving the diversity so far – now we’re onto pre-gangsta rap. Again, late 80s/early 90s – possibly a Native Tongues act. Like this. Thumbs up.
      5.A victim of length surely. Seeing a time like 9:47 on your player and you’re expecting something epic, something that unfolds and develops. There’s a strummed acoustic guitar, some gentle drums and bass and that’s about it – going gently electric and handclapping at the very end seems like a recognition that maybe something could have happened earlier. There’s a bloke wittering on about Nostradamus. If this was 3 minutes long I’d possibly like it a lot more. But then again I’m not smoking any dope.
      6.Back in the sixties. This time some slinky Mamas and Papasy Californian vibes. Not averse to this. Nice.
      7. Some more pastoral acoustic singer-songwriter stuff. Sorry. The kind of stuff that Simon Bates would pick to play on the Golden Hour rather than David Bowie. Not for me Clive..
      8. Yes! (not the band the exclamation, after 7.) Some wah-wah and driving bass. Ok we are still in the late 60s/ early 70s groove that this mix homes in on, but things are happening! It’s progtastic. Lots going on here, 3 or 4 songs worth (unlike 5.) so the time flies past. Interested to hear who this is. I may have an inkling.
      9. Love this. Mysterious, chilly, changes its mind half-way through. As ever with electronica really difficult to put an artist to it.
      10. Ah yes, back to the acoustic guitars. Think I know who this is – the sassy sexy jazzy minx. A real ‘telephone directory’ voice, though she’s singing about troubles with her man (possibly) rather than the yellow pages plumbers list for Rotherham.
      11. Though clearly not The Redskins, this seems ripped from that mid-80s punk folk soul blues era. Again, intrigued.
      12. Like how this also is several pieces jammed today. You like a stop-start-start again number! Crazy synths. Neither like nor dislike.
      13. Ah I do know this. The actual piece is 30 minutes long and 9 sections, but only this 2-minute marvel gets the airtime and sync fees.If they existed in 1900.

      So loving 2,4 and 9- intrigued by 5,6,7,8. Only 5 (which Ms Moles was convinced was a certain ‘Dylanesque’ artist) and 7 had me fighting back the skip. And apart from 13 didn’t have a clue who most of them were, which is good.

    • Right then, it’s time to share my scribbles made while listening to the disc from @wilson-wilson.

      These are notes made during listen number six, and are just a brain dump simultaneous with the playing CD:

      1) Eery sound effects approach from a distance… the vocals come in and immediately I know who this is and brace myself for the onslaught. Math rock! Exhausting stuff and something I dipped into a few years back before it just wore me down. You really need to be in the mood for this lot. What a way to begin the compilation!

      2) Oooh, this is soothing and mellow, especially after the last lot. Synths and bass, or maybe just good synths, solo. This unfolds in a deep pool of Satie warmth. The relaxing feel is spoiled by what creeps in after a minute or so – there’s a crackling horrible hissy noise that distracts the ear – is this artefact of maybe a copy-protection scheme, ort is it by design? If the latter it’s a big mistake. I’d love to hear more of this, but without the intrusive noise.

      3) A heartily strummed acoustic begins this song, taking me immediately onto a magic swirling ship, and I anticipate, correctly, the arrival of some nasal lyricism as I also wonder, prematurely, whether it’s all over now for the third track. But no, I persevere, and you know what? I really like this! The imagery is obviously from the same places that others have visited, but the style and execution are sufficiently, determinedly, individual to make me warm to this chap. Who is he? No idea. But I’d like to hear more of him, with the caveat that I’d hope to find that he wasn’t appropriating the sound and feel of the same inspirations wholesale.

      4) Harmonics and a quiet keyboard swell. There’s a calm build going on here. There are real instruments and real drums alongside the electronics here, and an insistently growing sense of moving towards something climactic. And then the wave breaks quietly and little electronic skitters dance across the chord sequence as the whole thing slows to a restful halt. Somehow, the sense that a huge noisy section was imminent throughout has resolved itself back into the calm feel introduced back at the beginning. What a fab track. I’d love to find out who this is – it’s probably someone from whom I already have some music, but I can’t for the life of me think who…

      5) Wha-hey! Another contrast. The Clash go north of the border with a bit of Ten Pole Tudor in tow as well. Rollicking stuff, and I like it a lot. Big chords. Loads of voices. Strident drums and a big ballsy chooooon. No idea who. Want to hear more. This is boozing music – best heard in a sweaty club, packed and heaving, with beer in the air! Dance music, good and proper.

      6) What sounds like an old-school synth carries the melody here – possibly even a moog. This is a rather slight little tune; takes its time and establishes quite a spooky mood. Finally retreats into silence. Intriguing, if ultimately rather inconsequential. Soz.

      7) Various sampled bits and pieces swirl across the soundscape until the warning signs start to appear. Those monotonous synth drums, the layers of samples mixed below the bassline. And then the inevitable fourth-form rhyming lyric spoken over a metronomic beat. Someone got a rhyming dictionary for their birthday and headed to the chazza to pick up a load of interesting samples, and then got given some effects pedals. Oh dear, oh dear. Not. My. Cup. Of. Tea. Devoid of much interest for me with little to recommend a repeat listening. Sorry. Again.

      8) Now that’s what I call music. This chap can do little wrong, and I love this song, and the album from which it comes. You can buy five awesome albums from this guy in a little slipcase for twelve quid twelve quid (including the album in question) and you won’t make a better musical investment. Superb.

      9) Now we’re off to what sounds a little like Deep Forest territory – though I’m pretty sure it isn’t them (or him, actually). There’s an interesting interpolation of drums that sound Indian or otherwise even further east; Sumatra? Indonesia? Krakatoa!? Mixed with vocals that have echoes of the African voices sampled on the Forest Hymn single. Hypnotic, pulsing and richly interesting – I’d love to know who this is, it’s quite special.

      10) Now we’re back in more traditional rock territory. Hints of simple Minds? This has an infectious, driving power. Anthemic – “blowing all the other kids away” it intones, suggesting a commentary upon social separation and violent chaos. I have no idea who these people are; but the song has a very direct melodic simplicity and rocks along nicely. What’s more, it doesn’t outstay its welcomes. I’d be interested to hear more from this lot.

      11) This compilation is being generously curated with some great synth sounds – here’s another tune that starts with what sounds like a Tomita intro. There’s a lovely tinkling drum track, but when the piano comes in, I think I know who this is. It’s unmistakably a pianist’s piece, and I have several of this woman’s works on my shelves. Gorgeous, elemental, quietly soothing and softly swaying to its delightful internal rhythms. Splendid.

      12) Oooh again. A pulsing, slightly threatening bass, with portentous keyboard chords, and a trumpet that has a little of the Zarathustra about it. Beeping synth notes. And that incessant bass throb. This rumbles along until the song breaks into what could be the breathing of a large dragon, followed by a transition into a 4/4 hammering beat – I wondered if the Glitter Band were passing by – under various squiggly bits and trumpet parps. Are those lyrics I can hear under a heavily treated distortion? On and on we march, like Sauron’s army emerging onto the plain. Over the bass pulse, the trumpet sounds a lonely farewell, and we are done. Interesting! Again, no idea, but keen to hear more…

      All in all, I thought this disc was a triumph: lots I’ve never heard before, great variety, and very little I chose to skip.

      Once again, the Afterword CD Swap has turned up trumps, with plenty to savour from both of the discs I’ve received. Thanks to all involved!

      Now that both my pairing partners have submitted their reactions to my choices, I shall shortly reveal the awful truth that is the tracklisting.

      • Cheers @vulpes-vulpes, glad you enjoyed most of it. On number 2 I’m afraid the hiss is indeed part of the track! Number 4, “the sense that a huge noisy section was imminent” suggests you are familiar with this artist, that’s more like their usual MO. And number 8, I have to admit this is from a greatest hits and that’s all I have – I’ll be investing in that 12 quid set though!

      • Criminally tardy, here are my scores on the door for the @wilson-wilson mix

        Overall thoughts were I really enjoyed this mix. Nothing I really disliked – one and five probably had the least impact. Two and seven I’m looking forward to following up.

        One
        Some emo early noughties alt-rock. Not an auspicious start – feel I know the vocalist.

        Two
        More like it. Gorgeous electronica, a bit Mogwai-ish with the chords, but not enough guitar. Trentemoller-ish or the distortion reminds me of uber-gauzey glitchers Belong. In my zone here.

        Three
        A man and his guitar (see my comments on the Vulpes mix) but don’t mind this, seems kind of 80s.

        Four
        Speaking of the Scottish instrumental distortion heads…I’ll probably be wrong and this is Milee Cyrus or something.

        Five
        Wow he has an irritating voice. Again, strong feel of eighties Peel charts, a bit Men They Couldn’t Hang. Not really pushing my buttons in a good way.

        Six
        Took me a minute to nail this, but what a fantastic choice. The Renaissance man of the futuristic B-movie himself. Call me Moles. Love the movie too. This is possibly the second-best lo-budget scifi theme of the 80s after Terminator.

        Seven
        I am sorry but did have to google ‘Deltron’ – a really great rap track. Rap is not something you associate with the epic but this earns its 7 odd minutes. Like this a lot.

        Eight
        Wah-wah. Falsettos. Something from early 70s Motown/Stax/Chess. Solid entry without being outstanding.

        Nine
        Enigmatic. Not a clue as to when or where this hails from. Like how it starts but feel it needs to get somewhere.

        Ten
        Fantastic track, but I would say that as I have this entry from one of my favourite American space-rock outfits. Really pleased to see them back, though on first listen their new album is not the equal of their first two

        Eleven
        In the zone of track two again. Very pleasant though perhaps plods a bit towards the end. Feels like an instrumental from a band who normally have vocals.

        Twelve
        More stuff that sounds like a film soundtrack (that’s one of the dominant moods of this mix), though later on there’s an awful lot going on for it to be under visuals. Not a clue who this is, but a big epic closer which is fine by me.

        • Cheers @moseleymoles! Glad you enjoyed some of it. It’s funny you say that about the soundtrack mood, I had to ditch another couple of tracks from movies as it was all getting a bit samey. I’ll post my track list (and justifications) tomorrow.

    • @moseleymoles / @wilson-wilson

      OK chaps, so here’s my tracklisting – and it’s time to reveal yours too I reckon! (Hint)

      01 – Man – Back Into The Future

      The title track from their epic 1973 album which also immortalised one of their live staples, the incredible track ‘C’mon’. For me, this was the absolute obvious starter track, given the theme. I don’t have any music that hasn’t been recorded yet, so everything on here is in some way or other an exercise that’s ‘back into the future’.

      02 – Morgan Geist – This Too Shall Pass

      From his 1997 album, ‘The Driving Memoirs’. If you love vintage synth sounds, this is well worth exploring. You can pick up a 2nd hand copy for a few quid on Discogs, or pay the current asking price on Amazon, which as I write is £1,610.09. Really!

      03 – Brandi Carlile – Sixty Years On

      I wanted to include at least one female singer songwriter, and for some reason the first track that suggested itself was this live bonus track from a re-issue of her eponymous 2006 album. She’s done Jools on telly, and always comes across well. This live recording isn’t perhaps particularly representative – follow her up and hear more when she has her band behind her.

      04 – Ozomatli – Coming War

      Latin hip-hop from this ten strong LA band. I caught them live way back and was impressed with their musicality – they actually play instruments, rather than other people records. This is from their very first commercial release back in 1998.

      05 – Al Stewart – Nostradamus

      Another shoe-in for me. The final epic track on Al’s fifth LP, 1973’s ‘Past, Present And Future’, this is very much based around the quatrains as set out in the Erika Cheetham book that was in every student room at the time, ‘The Prophecies Of Nostradamus’. It made for an intriguing song, even though the book didn’t stand up to much historical scrutiny!

      06 – Porter and May – Long Live You

      This lovely piece (IMHO) comes from their ‘EP11’ release from 2017. My copy via Bandcamp arrived in a beautifully hand-made package with a handwritten note. They have now ceased to exist under this moniker, but here is a concise description from an early press releases: “Self-described as ‘anti-folk’ and ‘neo-psychedelic’, Porter and May’s sound is remarkably euphonious. Hauntingly beautiful vocal harmonies are provided by Hannah Cobb and Maria Toase (who double up as keyboard player and guitarist respectively), supported by bassist Liam Ogburn and Aidan Poland on drums.”. I am sure to watch out for their next ventures. I recommend you investigate further.

      07 – Bruce Cockburn – Lord Of The Starfields

      I was also looking for a male singer-songwriter to include, and took a look at the titles on a number of early Cockburn albums; this is the opener from the 1976 LP ‘In The Falling Dark’. The song chimes tangentially with the theme, being essentially a musing on the infinite. I love most of Bruce Cockburn’s albums; if you’re not familiar with his work I’d urge you to jump in with a listen to the slightly later 1979 album ‘Dancing In The Dragon’s Jaws’, which was my own introduction to his music, courtesy of a mate from Canada (Cockburn is originally from Ottowa).

      08 – Nektar – Remember The Future

      Now then, this is a bit of a cheat; the wild variety of musical phases within this track reflects the fact that this is an edit of the entirety of the 1973 album ‘Remember The Future’ by a British band who had huge success – notably in Germany – in the 70s. This single track edit was put out in Germany on a sampler album, and is constructed from the two original sides of the vinyl LP, which were themselves just two continuous pieces of between 16 and 20 minutes in length. Follow me so far? As an edit it works quite well, but you can still just about hear the joins… as has been noticed!

      09 – Röyksopp – 40 Years Back

      Did someone mention the Norwegian rascals Röyksopp as a suspect for the earlier Morgan Geist track? There’s a reason for that – their shared use of lovely synth sounds. This is the final track from the 2001 debut album ‘Melody A.M.’ and I think it has a delicious sound to it, and is full of playful ideas, with a sweetly melodic gentleness.

      10 – Rickie Lee Jones – Up From The Skies

      Bonkers Rickie does a Jimi number on her 1991 album ‘Pop Pop’. It’s nicely far out as a prodigal man from space asks ‘what the heck have you done with the old place since I was last here?’ in a most delightful way. ‘Klaatu barada nikto’ might be a phrase that he considers.

      11 – Morphine – Do Not Go Quietly Unto Your Grave

      A track from their terrific 1992 debut album, this embodies the Morphine sound completely within its 3 minutes and 21 seconds. Moody, morose even, certainly with a jazz tinge. Too mature and sophisticated for the American audience I fear, they did better on this side of the pond. Well worth your further exploration if you like this one, and don’t know any more of their all too brief canon.

      12 – Spirit – Space Child

      And we end with a melodic little treat from Randy California’s Spirit – this is the delightful side 2 opener from their ‘Twelve Dreams of Dr. Sardonicus’ album, released in 1970. In a way it’s a return to the theme of number 10 above, and nicely brings things to a mellow close.

      and just to round things off:

      13 – Berlin PO – Also Sprach Zarathustra (short edit!)

      Tell me, which one of you was it that stuck that monolith in the desert in Utah and then stole it away again 24 hours later?

      • Cheers @vulpes-vulpes! Plenty for me to dig into there. I must’ve listened to that Royksopp album recently, and I’ll be checking out Morgan Geist! I’ve definitely heard that Porter and May song before, but I’ve no idea where. And I’m intrigued by that Nektar album – it works over ten minutes, but a whole album? We’ll see!

      • @vulpes-vulpes @wilson-wilson here they are…

        With this mix I tried to tell a bit of a story: starting in the fifties and moving forward to the end of the century and picking tracks that were in some way ‘futuristic’. Couldn’t quite get them in strict chronological order….

        One
        Joe Meek and the Blue Men – I hear a New World
        The Telstar hitmaker was Mr Space Age.

        Two
        Jean-Jacques Perry
        Most well known for the Lucozade-advertising Fat Boy Slim remixing EVA, Perry has that warm playful analogue sixties synth sound.

        Three
        Thin Lizzy-Warriors
        When could you stop singing about master computers, overlords and future warriors? Another thing that perhaps grunge killed along with spandex. Nothing particularly futuristic about this prime cut musically, but the Lizzy covers and lyrics were scifi obsessed.

        Four
        Yellow Magic Orchestra-Cyteen
        Or the Japanese Kraftwerk, with squelchy sounds and a great computer game vibe.

        Five
        Silicon Teens – Sun flight
        Most of Daniel Miller’s cartoon electronica bands tracks were Flying Lizards style rock and roll cover japes but this, a B-side, is a corking original.

        six
        Young Marble Giants – Final Day
        The future in the 80s was all about armageddon one way or another. In its own way as great a statement of how the end will be as Two Tribes.

        Seven
        B-52s Future Generation
        Retro-futurism – if the Jetsons had a house band it was the B-52s, much more suitable than the Flintstones.

        Eight
        Techno Music – Model 500
        Was there ever a musical movement as much about the future as techo?

        Nine
        Future Sounds of London – Cascade
        On many people’s mixes, the single mix of this ambient banger. They used to do 7-part CD singles. Oh my nineties.

        Ten
        Gorillaz feat Mark E Smith – Glitter Freeze
        From another modern concept album about ecological disaster. With added ME Smith.

        Eleven
        Deep Dish feat Tracey Thorn – Stay Gold (the future of the future)
        From the height of club culture, nine minutes of house with some lovely vocals-for-hire from Tracey.

        Twelve
        Bix Biederbecke – Take Your Tomorrow (Give Me Today)
        This was the future once. Top, top tune.

      • Paging @vulpes-vulpes and @moseleymoles!

        1. Son et Lumiere / Inertiatic E.S.P. by the Mars Volta: The opening track(s) from their first album, Deloused in the Comatorium. I love how atmospheric the start of this is before the guitars crash in. The lyrics are all pretty sci-fi, but ‘past present and future tense’ gets them included here.

        2. Illusion of Time by Daniel Avery and Alessandro Cortini: The title track from their album which came out earlier this year, and which has become a kind of lockdown anthem for me. This is probably the prettiest track on the album but it’s full of warm droney noise and well worth a listen.

        3. Burden of Tomorrow by The Tallest Man on Earth: AKA Kristian Matsson. Like Moseleymoles I’m no great fan of man-with-a-guitar acts but I think this guy is brilliant. Obviously indebted to Mr Zimmerman, but I think he definitely has his own style. From the album The Wild Hunt.

        4. Kids Will be Skeletons by Mogwai: spotted by Moseley. People don’t seem to rate Happy Songs for Happy People as highly as their earlier albums, but it’s is a bit more electronic and atmospheric and has got some great stuff on it, like this.

        5. Johnny Cash by Sons and Daughters: This is on a compilation called Future’s Burning which is almost wall-to-wall landfill indie (Razorlight! The Zutons! Kaiser Chiefs!). I love how rough and ready this is. It’s from their EP Love the Cup but I think the album The Repulsion Box is them at their best.

        6. Main Title – Escape from New York by John Carpenter: Because what’s more futuristic than the theme from a sci-fi movie made in 1981 and set in the far-future of 1997?

        7. 3030 by Deltron 3030: Epic, cinematic sci-fi hip hop from Del the Funky Homosapien, Dan the Automator and Kid Koala.

        8. Future Shock by Curtis Mayfield: Just a great song, isn’t it? I wasn’t sure this fitted with whatever kind of theme I was putting together, but couldn’t bring myself to cut it…

        9. Future Tiger by Susumu Yokota: I don’t know much about this one – I bought his album The Boy and the Tree in 2002 after hearing another track on a compilation, but it didn’t make much of an impression at the time but I love this now and will have to go back to that album!

        10. The Road Leads Where It’s Led by Secret Machines: Epic, booming space-rock. Their debut album is full of good stuff, although I’ve not really paid attention since.

        11. Time by Poppy Ackroyd: Every time we do one of these mixes I end up including a track by an artist I wouldn’t have heard of if it weren’t for this place – this time it’s Poppy Ackroyd.

        12. Responder by Teeth of the Sea: The most tenuous inclusion. I only made it to two gigs this year, one of which was Teeth of the Sea at Broadcast in Glasgow, and they finished with this. I was there with an old friend who I’ve been going to gigs with since we were 18, I had a couple of drinks and I got to hear some brilliant music in a tiny room full of other people loving it as much as I did. I’ve really missed that and I hope I get to have another night like that soon, in the not-too-distant future.

      • So here is your review ! @Mike_H I hope you forgive my poor command in english language!

        01 In the beginning it sounds like an intro for the sixties french tv-show Dim Dam Dom but in a more jazzy style then a barbershop like Les Double-six. Joyous indeed! I am very curious about this one,
        I can guess that what makes it future-proof is the title…

        02 Starts with clavecin as in the soundtrack of “Danger Man” then, get both eighties and seventies vibes “Back INto the future” ends up full fledged eighties with a little reminder of Limahl’s Never ending story music.

        03 Instrumental with a rythm box and a synth then some brass sometimes I believe that the cd has a scratch (or whatever we could call it) I remember what Brian Eno said
        about the defect of any supports as its signature, this scratch feeling gives me the reflex to give away a record. Nice voice, strange oriental synth instrumentations.
        I’ve had difficulties to find the link to the future theme.

        04 Start likes a Don Fagen, funky, “I’m looking for the next road” “in the starship from america gonna take you there…” sounds like a dream from Elon Musk…

        05 It starts with “you only live twice” original version (Nancy Sinatra) for being later mashed-up with a Beatle’s song “Turn off your mind, relax and float down stream” Tomorrow never knows,. If I would take it as a message based on the
        Sommerset Maughan-wannabee, Ian Fleming “You only live twice:
        Once when you are born
        And once when you look death in the face”
        Mixed songs leads to mixed feelings…

        06 Regina Spektor The Ghost of Corporate Future from the Album Soviet Kitsch, I know, I choose the same title from the same singer. The title speaks for himself.

        07 A “guitare manouche” the like of Django Reinhardt, not Chet Baker, a crooner “there goes my future” / “my future just passed”. Without love, no futureThe guitar got me!.

        08 Starts like a strip-tease jazz “the best is yet to come” a sixties orchestration and voice, a song which Frank Sinatra sang, it has another feeling in a woman’s voice.

        09 A calm piano I have a god who never fails (ad lib) a gospel sung solo. I don’t believe in any gods but it doesn’t prevent me to appreciate any sacral music.
        I guess that in that case it refers to the hope of afro-americans in the post-t-rump USA.

        10 Kind of seventy blues with echo and synth effects extreme electric guitar/drums duo towards the end. I like it but I don’t understand so well the lyrics.

        11 Sounds like Capercaillie or any kind of folk singer I can’t recognize who this is. it is the hope to see the dear people that the pandemia kept faraway from us
        in the near future “I am twenty one today” the singer become the year personified. I guess that it is some kind of american folk that I fled like the plague during my childhood because my sister only played that.

        12 Strange echoes and distortions lo-fi. It feels like a seventies n-spiritual, I like the sound of it but don’t get the lyrics I’m afraid.

        So, the whole thing gave me some vibes of an era I was too young and too screened from, anything outside the french sphere to enjoy, thanks for the trip!

        • I’m glad you liked the first one. The title is indeed the clue. Such a vocal arrangement is quite unusual so I was quite prepared to get a thumbs down from both of my co-conspirators. Ace piano playing from one of the genius accompanists of the ’60s, much-admired (and emulated). A late ’70s track.
          The second one is early ’70s in fact and this British (but not English) band were noted for lengthy live jams. But not on this occasion. They went Back Into The Future well before Marty McFly.
          Third one is a very recent release from a London-based musician from the same part of the UK as the previous band. His album is named after where he used to live. The title is vaguely to do with the future.
          The fourth is from a band of session players led by a producer/keyboardist who had a big UK hit single with lyrics making fun of a long-running TV cowboy hero from the 1950s. This one is about space exploration, Looking For The Next World, although the words are a bit rubbish and make little sense. In hindsight I think this is the weakest track.
          The next is a “mashup” from an album called Revolved, which took songs from the Beatles “Revolver” album and blended them with other songs to produce rather variable results. This one worked pretty well and fitted our theme.
          You know and like the next one, so you are obviously a man of good taste and refinement. Regina Spektor is a great quirky talent. I really ought to get more of her music.
          The guitarist on the next track is one of music’s great innovators. The original inventor of a few techniques that everyone uses now. When I first heard this I thought the singer was Bing Crosby, who he frequently recorded with, but it was in fact the man who replaced Frank Sinatra in Tommy Dorsey’s big band when Sinatra went solo. An obvious link to our theme with “My Future Just Passed”. From 1947.
          The next is more a modern recording than you think. 2003 in fact. An American singer who has lived here in Britain for some years now and is married to a British saxophonist. “The Best Is Yet To Come” has an obvious link to our theme.
          Track nine is a London singer pretty well-regarded on the AW. She’s guesting here with a young London jazz outfit on an EP they put out in 2016, although the band’s two brass players were not present on this track. This is a version of an old Ghanaian/Jamaican religious chant. Really shows her voice off, and the group’s piano player too.
          The tenth is from one of a pair of bands from New Jersey USA which shared a lot of personnel. A blend of Afro-Futurism, Funk and Psychedelic Rock with really spectacular stage shows. Voted on this blog, as far as I recall, to have the coolest band name ever. A rocked-up subversion of an old American children’s song. The link to our theme is the “..When She Comes” part of the title. From 1976.
          Song eleven is a cover of a really great Tom Waits song by a well-respected British folk artist, with her son on guitar. From 2007. Only a couple of days in the future, if he makes it, is our theme.
          The last one is a completely unrepresentative song from a group known for it’s vocal harmonies. On this one there’s just one voice, probably the songwriter, and his voice has been quite heavily treated. Nice fingerpicked guitar accompaniment and he’s looking toward a better tomorrow from a place of adversity.
          Thank you for your comments.

            • First play and what a great collection!
              I recognised the artists for 7 of the 12. Absolutely loved all but two of the tracks. I rather liked one of the other two but I didn’t think it a good fit where it was on the disc. There was only one I actually disliked, which was one of those where I recognised the artists.
              More detail later, after a second listen

              • There is one you would certainly recognise.
                Anyhow, as any CD swap has been as difficult as a spinal tap concert to organise, I am thankful for any advice in order to improve myself.

                • Okay, here’s the review.

                  1) Unmistakably The Fall. Not one I’m familiar with and pretty sophisticated stuff for them. 12-string acoustic leading off and there in the rhythm throughout. Female backing vocals and a good tune. Loved it. The future’s here to stay.
                  2) Piano & cello intro to UK folky female voice and more strings. Great string arrangement. Harmonies on the chorus and then two female voices singing in unison. Sophisticated UK folk. No idea who this is but I really like it. I suppose “When The Tide Comes In” is our link to the theme.
                  3) Is this Prince? The music sounds like his unusual take on funk but the voice doesn’t. It sounds like a British singer. “I’ve seen the future and it works”. Not a great Prince fan but this is a good one.
                  4) It’s “The Barnsley Nightingale” Kate Rusby covering Ray Davies’ masterpiece “Village Green Preservation Society”. Lovely. I suppose all these things mentioned are being preserved for our future.
                  5) Same as track six on my CD. Great minds think alike. Just Regina Spektor and her piano. Such a talented lady. The Ghost Of Corporate Future.
                  “Maybe you should cut your own hair. That could be so funny. It doesn’t cost any money and it always grows back. It grows even when you are dead.”
                  Who else would put that in a song? Love it.
                  6) Don’t know this one or the artist. “For The Ages To Come”.
                  It has a ’60s vibe to it but it’s much more modern. A proper, well-written opus of a song with vocal harmonies over a stirring brass and string bit in the middle. Classy stuff. Guitar wigout to finish.
                  7) Good funky pop guitars and organ over a shuffle beat with female vocals. “The World Is Growing Old” Only slightly on-topic. Very tasty stuff.
                  8) This is a low point for me. Canned Heat? Later in their canon than I’m familiar with. Rather clunky white-man boogie. It does nothing for me. The future gets mentioned so it’s on-topic.
                  9) Unmistakably Woody Guthrie. A wartime (WWII) rabble-rousing song by the sound of it but incorporating his leftist politics. “A Better World A-Comin'”. “We’ll all be union and we’ll all be free”.
                  10) It’s Donald Fagen and another slice of the sophisticated jazzy funk he specialises in. Intricate brass and guitar arrangement and precision vocal harmonies. “They’re wearing pumps and pearls. Here come tomorrow’s girls.”
                  11) Moody piano and string synth washes. Don’t know it and can’t tell if it fits the Future theme. Very atmospheric stuff that seemed a bit out of place on the first listen, but on subsequent listens it works rather well in fact.
                  12) It’s Lee Hazelwood. I’m not as familiar with his records as I should be. A proper epic production with soaring strings oboes, flutes french horns, the works. Twangy guitars and a slow waltz beat. Souls Island seems to be the title. Seems more about the past and present than the future. A harmonica solo over a bassoon and more soaring strings. A lavish big-budget production. Beautiful stuff and a great ending for the CD.

                  Out of all the CD swaps I’ve participated in, this disc is the best I’ve received so far. I wish any of mine could be as good.
                  You did a good job, monsieur.

                  • Thank you for your review, to give birth to that cd was the fruit of a regular listening of 50 cd per week, for several month , then when we got the subject, an extra research because it was not enough, technical difficulties while I was on an island without internet but I wanted to finalize it and properly.
                    The last problem was that my copy of soviet kitsch wouldn’t transfer properly, it would sound scratchy, and I wanted that song, I asked the library for a copy but they closed because of the pandemy, so, I did something to solve the problem.
                    You can guess…

          • …and here’s the reveal of mine, “Our Future, So Bright” now that all reviews are in.
            1) For Tomorrow by McCoy Tyner, from his 1977 album “Inner Voices”. Jazz piano and a Swingle Singers-style choir.
            2) Back Into The Future by Man, from their 1973 album “Back Into The Future”. Had to be done.
            3) Risk Of A New Age by Huw Marc Benett, from his 2020 album “Tresilian Bay”.
            4) No American Starship (Looking For The Next World) by Quantum Jump, from their 1976 self-titled album. My weakest link, in hindsight.
            5) You Only Live Tomorrow by ccc, an unauthorised mashup of Tomorrow Never Knows by the Beatles from “Revolver” and You Only Live Twice by Nancy Sinatra from John Barry’s original movie soundtrack. From an album called “Revolved” which consisted of all the tracks from Revolver mixed with various other songs by other artists. An Eel Market special.
            6) The Ghost Of Corporate Future by Regina Spektor from her 2004 album “Soviet Kitsch”.
            7) My Future Just Passed by Dick Haymes & The Les Paul Trio, from a 1940s single B-side.
            8) The Best Is Yet To Come by Stacey Kent, from her 2003 album “The Boy Next Door”. I love the way they play with the rhythm on this song.
            9) I Have A God by Ezra Collective featuring Zara McFarlane, from their 2016 EP “Chapter 7”. Zara in superb voice.
            10) Comin’ Round The Mountain by Funkadelic, from their 1976 album “Hardcore Jollies”. Couldn’t resist.
            11) Day After Tomorrow by Linda Thompson, from her 2007 album “Versatile Heart”. A superb Tom Waits cover.
            12) Lookin’ At Tomorrow (A Welfare Song) by The Beach Boys, from their 1971 album “Surf’s Up”. I presume it’s Al Jardine singing, as he wrote the song. No other Beach Boys in evidence.

            Front cover image: © Peka Photography

            View post on imgur.com

            Back cover image: © The BBC

            View post on imgur.com

    • @carl
      1. Moody start and then high pitched female voice (not unlike Kate Bush), but it all goes a bit 60s Mod Girl Group with shades of Dusty Springfield (Dusty Bush?)
      2. Come on, who doesn’t recognise that voice? The song though. Can’t say I’ve ever heard it. Sounds like it’s from early 80s ish – the power of the band matches the bombast from the period.
      (A little bit of googling reveals that I am right about the time period, and now understand why I haven’t hear it before, despite it’s vintage sound)
      3. When that female vocal kicks in I’m thinking Emmylou, or maybe First Aid Kit. Now I have a passing acquaintance with both, but its not a genre I know too much about. Good track though.
      4. And now it goes a bit funky. And another unmistakeable voice is heard. Great Band. Great track. Nuff said.
      5. Folk-y, Country, quite delicate. Clear voice. Builds nicely though. See 3 for my passing acquaintance. All fine, but not making me say “tell me more”.
      6. Similar genre again, but more blusey and bar-roomy. I reckon I know the voice though (but could only name one song by him). If it is who I think it is, I now know 2 songs, and like them both. Something telling me I should investigate further.
      7. That opening piano riff reminds me of another song, as does the voice. But, nope – not heard this before. Another Americana/Country songbook – as you can probably guess, it’s not something I know much about, but this is another that makes me ask “why?”
      8. And here’s another – reading like a folk tale or confessional upon returning from war (I’m guessing, due to the Tommy Gun reference). Not a skip, but not as earworming as the last couple.
      9. And they keep coming – Female voice at the start, and then a gruff male counter vocal. They do love a duet in this music style don’t they. Again, no skipping (it’s a good song), but may not return.
      10. Do you know what – I think I know this one. Hmm … not sure now. Sounds American Pop-Rock from the 60s before the world went Flower Power and Psychedelic, and gets pretty sumptuous with horns and strings. This is either a one-off, or there’s more gems in the catalogue – I will find out how much I need to explore when the track lists are published.
      11. The bluesy harmonica at the front is slightly misleading as this another from the Americana end of proceedings. Great chorus though. And it’s been stuck in my hed for a couple of days now.
      12. The voice and tone here is similar to 6 – assuming it’s a different bloke though. Rolls along nicely. More fiddle though, and it’s probably the way my brain is wired, but I was just hoping for a guitar solo at some point. Provisionally added to the “Look For More” list.

      Now, whilst I wouldn’t choose any of these tracks ordinarily, or spend too much time seeking them out, I did not skip anything. Interesting listen all, and one band I need to listen to again because I feel I have been neglecting them, one track I feel I should own to complete the collection, and 2 (maybe 3?) to definitely have a deeper look at when the scores-on-the-doors are announced.

    • @tinydemon
      1. Starts like a 60s TV Theme from the ITC stable. Either that or Herb Alpert or some light loungey jazz
      2. Sounds like a prime slice of US Powerpop. I’m really liking this, and feel I should know it. That whole US Powerpop thing (if that is what it is called) has somehow passed me by. Maybe it is now time to rectify that.
      3. Similar sounding, and am sure there’s a US accent in there. Oh the harmonies, the guitars, the tune, the bits of ELO going on. This is all good, but again me not know. More please
      4. A bit choral, almost Parisien (I think it might be the accordion). My first thought was a Velvet Underground out-take (or even pastiche). Damn good – more. More, more. Really liking this one
      5. Mmm nice .. .jazz. Sloppy bass, piano chords and female vocal. I know it isn’t, but it sounds a bit like Doris Day. Outside of Hanna Barbera cartoons, I don’t listen to much Jazz, but I can offer no argument as to why I shouldn’t listen to more.
      6. A thick wall of Beach Boys-esque harmonies start, and then there’s this totally recognisable voice – even if numbers are not his strong point naming his band with 2 more members than are actually in it.. Don’t recognise the track though. Interested to know where it comes from.
      7. This one is quite slow by comparison – all moody and atmospheric. Slowly builds. No idea, but probably something I’d reach for for relaxing, background, chill-out moments
      (Even though I hate the phrase “Chill Out Music”
      8. And here is another unmistakeable voice – what a great band they were (recently been re-listening to them quite a lot). I think this one comes from their best album
      9. This is great too, but I’ve no idea who it is. Give us a clue? Who do I need to add to the Amazon Wish List.
      10. Droney opening like an Indian Raga or something. Oh no, I recognise those voices. In fact I recognise this song – it comes from an album I did a “Blind Review” of for an Afterword Podcast a couple of years ago. Bought the album soon after – I must listen again soon.
      11. Wild guess – mid-70s US Soul infused Rock. The singer or the band here are probably massive and I should’ve heard of them.
      I do recognise some tone in that voice, but can’t place it (suggesting they are a pretty big artist that has somehow passed my world by)
      12. Oo, I recognise this. Lifted from a very good album with very good songs, but one I can’t quite get the apparent greatness of. Actually, I think it’s a different version – it sounds a little different. Hang on, I don’t remember it going all Reggae in the middle. It’s great done like that actually. I could hazard a guess at the artists, but will wait until I’m told.

      Plenty here right up my boulevard – even if I failed to recognise most of the names involved. Which just means more purchasing will soon follow (particularly as I seemed to have missed an entire genre / group of bands in recent times)

    • @Rigid Digit
      1) The first song sounds like a classic 60s song. I feel I should know this but I don’t. I don’t even recognise the band. Some great Vanilla fudge morse code guitar (but it isn’t them). Will have to explore their back catalogue post reveal!
      2) So rigid digit doubles down with his first two tracks appearing to have the same title! This sounds more 80 / 90s. Damped descending guitar figure, single vocal line picking up a harmony before the band kicks in. No idea who it is but I want to hear more.
      3) Distinct British new wave sound to me (late 70s early 80s). Great song. I am sure I am going to know this band but again haven’t heard this track before. Will rectify my ignorance once I know.
      4) Okay I know this one. Was on my long list. Distinctive quavering vocal style. Have always loved the little guitar figure at the end of the (short) chorus.
      5) Another classic. From the 90s this time. Good call.
      6) Okay but a bit “quirky” for me. Band got their name from a film and its director.
      7) Into less familiar territory for me. It all starts okay with solo bass riff before being joined by definitely rocky guitars. But it declares itself when the vocals start. This is metal!! Or at the very least hard rock ( I am unclear as to the exact boundaries between the two). I have always had a problem with the classic high pitched slightly over the top metal vocal style. But I am enjoying the harmony guitars so am happy to go with it. I am sure I should recognise the vocalist. I would guess 70s?
      8) More metal / hard rock. But this is a tighter, better song than the previous one with a less histrionic vocal style. By the time we hit the twin guitar attack of the solo I am happy to surrender my prejudices. 80s but no idea of the band. I am minded to further investigate.
      9) Another classic. Again on my long list. First heard it back in the day in my favourite Jonathan Demme movie Something Wild.
      10) This is a cover of a 60s one hit wonder ( I love covers) . No idea who by. The drum machine and synth sounds suggest the 80s.
      11) Electric piano and vocals. The piano figure at times reminds me of “Susans House” off the first Eels album (it is definitely not them). The vocoder vocals (its about robots!) reminds me of the old OGWT favourite “Fish heads”. I do not have a clue.
      12) And rounding off with another classic. Think it is probably the most up to date being from the early 2000s. Hadn’t listened to this for a while but this has made me want to dig out the album. Great background squelchy synth in the chorus.

      So, in summary I liked this. No hard skips. Some great bands that I want to find out more about. Some old friends dragged back out into the sunlight. When I listened to this I felt reasonably confident that we shared some of the same musical DNA and my offering would be treated sympathetically!

      Thank you!

      • Glad you liked it. Was concerned that 7 and 8 may not be to manys taste, but you took them in your stride.
        And I’ve no idea where the boundaries are.
        Never really though about the Vanilla Fudge-ism for track 1 either, but I can see (hear) it now.
        And … oh yes, there’s not too much recent on there is there?
        Didn’t really notice when I put it together

    • Okay. Sorry for the delay Carl but here are my thoughts on your CD.
      1) Female singer 60s. Soul vibe. I know this one because she was a big influence on one of my musical heroes (song no 11 on my disc – clue in my user name!). Despite this I haven’t really investigated her back catalogue very thoroughly which this track makes me want to do.
      2) One of Americas all time greats. His voice in unmistakeable. Everyone knows some of his songs of blue collar, middle America. I don’t know this one. Bounces along nicely but I prefer other songs form my , admittedly, limited knowledge of his oeuvre.
      3) This is cover of a song from a late 80s album, that I am very fond of, by another American singer songwriter. The original is sung by a man whilst this a woman. I know Bonnie Raitt covered some of his songs but I am pretty sure its not her.
      4) Magnificent thuddy bass and meat and potatoes drumming. 70s British blues rock. I should know this? Gotta be Free hasn’t it? This is my favourite off the CD.
      5) Folky picking start. Female vocal comes in. Vocal melody initially very Joni Mitchell to my ear (but it’s not her). Has that laurel canyon vibe but later years later than the heyday. Builds nicely. Definitely follow up on this.
      6) OK. So we are into country music territory. There is a pedal steel guitar and the singer is “getting on the interstate and never looking back” in his “67 chevy”. Now this whole area of country/Americana is one with which I am not familiar. So whilst I may well have heard of the singer I have little to draw on from a standing start. This will have relevance for the rest of the CD!
      It’s a little bit Bryan Adams when the choppy electric guitar kicks in at the beginning (though this just demonstrates my limited frame of reference as it is not him – and I am slightly worried this observation may elicit a tut from Carl).
      7) Piano led song with female singer. Again a country/americana style. The song has a circle of life, what come around goes around vibe in the manner of cats in the cradle.
      8) Strummed acoustic, male singer and introducing accordion. The subject matter (returning home) and the picked out piano melody in the chorus makes the Chris Rea song driving home for Xmas pop into my mind though this is nothing like it!
      9) A duet with a Nancy Sinatra/Lee hazelwood feel. The electric guitar part is really nice.
      10) Strummed acoustic opening. Not country! Reminds me a bit of nick drake in the vocals (but it isn’t) Builds nicely with string and brass sections joining in.
      11) Nice picked electric intro but I can do without the Dylan, play all the notes at the same time, style harmonica intro. Female vocalist. Again firmly in the country / Americana pocket (more pedal steel!)
      12) Nice little song to round off with fiddle filling out the Americana sound. Not sure of the connection with our theme unless the Elephant is from the future!

      I really enjoyed this CD as it fulfilled one of the reasons I did this swap which was to get me out of my increasingly echo chamber like listening habits. The fact that some of the songs were in the Country / Americana mould meant I was being dragged out of my comfort zone. So whilst I don’t think I will start an extensive exploration of this genre I will certainly be listening to the songs on the CD again and perhaps being a little more open minded in future.

      • I immediately got the Nick Drake-ism in the vocals for 10 too. Sent me down a confusing path – I thought I’d heard Nick Drake’s stuff – don’t recall it sounding like this. Is it a rare out-take perhaps?

      • What’s the connection between See the Elephant and the future theme?

        Please Papa can I go
        Down to Richmond to the travelling show…

        … They’re looking for a few good men
        Could be war by summer’s end
        Sure would hate it if I went
        And never got to see the elephant

        The song is predicated on the protagonists desire to see an elephant – something that hasn’t happened but he hopes will, in the future.

    • As Rigid Digit and Tiny Demon have posted their reviews, I can post with freedom to name names, without unduly influencing anyone else’s reviews.

      First up is @rigid-digit.

      1) The voice sounds very much like Noddy Holder. Indeed it can’t be anyone else but Mr Holder, but not a Slade song I know (or did Noddy do a solo album?). It’s pretty good and probably stands up to re-listening more than a lot of their stuff. (One benefit of lockdown is I won’t be out Xmas shopping and getting exposed to THAT song time and again).

      2) The voice sounds something like Peter Gabriel but then it doesn’t. Is it post-PG Genesis or Marillion perhaps? I didn’t know a single song titled Shape Of Things To Come and this disk starts with two. It’s not my bag, but it’s listenable, nonetheless.

      3 and 4 ) I have no idea who it is on track 3. It sounds like early 80s pop, heavily influenced by The Undertones, and lies in this position because the next song here (4) is the unmistakeable real thing. Feargal showing what a great vocalist he was. Can he not be tempted back to music? The previous track is pleasant, but unremarkable. Wednesday Week is good, though not one of my favourites.

      5) I generally find Damon Albarn’s voice unlistenable, and feel tempted to wreck the source of the noise rather than endure him for too long. This, however, is one of the few Blur songs I can listen to. Not one I care to hear repeatedly, but I can bear it for this exercise.

      6) Whistling Jack Smith? Obviously not. Banjo/mandolin intro lead into a song that is quite fun, but not one that would stand up to repeated listening without incurring the Blur effect. I have no idea who it is.

      7) Another band I have no idea about. Heavy metal, but listenable. I’m guessing it’s NWOBHM and a band like Def Leppard or Iron Maiden. It doesn’t tempt me to to go retro and explore those lost years, but I quite enjoyed it.

      8) Unlike this song. It starts OK, but then the vocals go falsetto and I’m sorry, but I find it unlistenable. I gave it three goes, but on subsequent plays I had to skip it. There was no way it could worm it’s way into my consciousness and turn my feelings towards it.

      9) I don’t think I have heard this song in the 21st century. I thought it was pretty good then and still like it. The unfortunate thing for Timbuk3 was that I agreed with the sentiment of the song (to a degree) and thought that would be around for a while, but as far as singles went this was their only ToTP intrusion.

      10) The first few seconds made me think it was a Trans out-take. Not a bad thing, as I quite like the album, unlike almost everyone else on the planet. The original of this was one of the first singles I ever bought, so I have residual affection for it. I like this, but don’t feel an urge to explore further. No. Idea who the performers are.

      11) and 12) As with songs 3 and 4, on first listen I though one band sounded very like the band that actually succeeds it. Is it possible that you have actually placed two Flaming Lips songs in succession here? I don’t care for the first of these, whoever it is, but love Yoshimi. I don’t know why it didn’t occur to me to put it on my long list, but just as well as we both wouldn’t want to have the same songs.

      I like the collection overall. I’m somewhat disappointed that nothing grabbed me and had me reacting positively to the same degree that Song 8 induced a negative reaction. But thank you RD.

      • Spot on with 1 – the recognisable shouty vocals of Sir Nodworth of Holder. This one from the second album Ply It Loud – The Shape Of Things To Come is a cover of a Mann and Weil song originally by Max Frost and the Troopers from the film Wild In The Streets.
        7 & 8 were ones I did wonder how well they’d land – usually acceptance for Iron Maiden (well, its ver Maiden), but not alays an easy ride for high pitched German copyists (in the case Helloween).

        More commentary to come at the official reveal …

    • And now @tinydemon.

      1) A fun intro that sounds like a Barry Grey (a sub-John Barry) tune that might have been performed in an episode of Thunderbirds, had Gerry Anderson wanted a party scene.

      2) It sounds like Squeeze. The idea of a computer as something of note dates it, though not that I’m disparaging the song by suggesting that. There was time when we were all impressed bye the idea of a new computer.

      3) I don’t know who this is but sounds like something from the same era as the previous song. A Beatles influenced intro plus mellotron. It sounds vaguely familiar, but I have node who it is. It stands up to repeated plays.

      4) I don’t know who this is either. The resigned tone of the chorus contrasts with hope in the voice of the female lead. If they aren’t too jokey (and thus irrupting after a couple of listens) I could see myself listening to more of this.

      5) I never knew Ella recorded this. Great singer, great song. They combine to excellent effect. What’s not to like?

      6) It sounds like post Godley & Creme 10cc. It’s pretty good pop and I like it, whoever it is.

      7) A long, moody intro. Get on with it. Meanders a bit and doesn’t do anything for me, I have to say, it all seems a bit pointless.

      8) Another song that I should have considered for my long list, but it is fortunate that I didn’t. Many people talk about how Bowie on ToTP singing Starman affected them. Seeing Alex performing this on OGWT had the same effect on me. Very good pick.

      9) I don’t know this song. It seems to switch between an initial 60s feel into a 70s feel when the synths come in. At the end when it slows down I expect it to surge on (is there another part to this) but instead it stops. I think this might be worth exploring further, when I find out who it is.

      10) Is this The Unthanks? Did they perform this on Later? It resides in some nook in my memory, but I can’t quite locate it. I quite like this, though it isn’t usually my sort of ting.

      11) It sounds like David Crosby, but not any song of his that I know by him. It isn’t great but it is quite listenable.

      12) It moves into a TwoTone groove after a somewhat pallid start. I don’t know the song but I will make a stab at it being The Bodysnatchers. A decent finish to the disk.

      I get a better vibration from this collection, for the most part. I’m especially taken with Ella Fitzgerald (I’m sure I’m right, and I will be very embarrassed if it turns out that it is someone else) singing Leonard Cohen.

    • @tinydemon @carl
      I sent @kid-dynamite my track list, but now think I should put some words around it.
      And here it is:

      1. Slade – The Shape Of Things To Come
      From their second album Play It Loud, and released as a single which went entirely un-noticed. The song is a cover of a Mann and Weil song originally by Max Frost and the Troopers from the film Wild In The Streets.
      This was also later covered by The Rich Kids, but this version is so much better.
      2. Headboys – Shape Of Things To Come
      Powerpop from Glasgow. This song is one of the best from the period, but The Headboys didn’t have anything else as noteworthy. A great song that scraped into the lower reaches of the chart in 1979. One Top Of The Pops appearance, and then … nothing
      3. Vapors – Waiting For The Weekend
      Included if only to prove there’s more to this lot than Turning Japanese. Recently reformed and their new album – Together – is worth a listen if this track floats your boat.
      4. Undertones – Wednesday Week
      Feargal’s voice is pretty unique, and this is one of those tracks from The Undertones second album that shows there was more about this band than Chocolate and Girls
      5. Blur – The Universal
      The Great Escape album showed Blur wanted to get away from the Oy Oy Britpop-isms and the album has aged better than it’s direct competitor (according to a salivating NME) What’s The Story Morning Glory
      6. Noah And The Whale – Five Years Time
      Indie-Folk from early 21st Century. Not the most substantial of sounds, or even the most original in some cases, but they did release a couple of good albums (maybe not the enduring classics I thought they could be)
      7. Iron Maiden – The Clairvoyant
      From the Seventh Son Of The Seventh Son album – the album that confirmed their place as the biggest HM/HR band in Britain, if not the world. All the Maiden trademarks are here – Steve Harris’s rattling bass, twin harmony guitar chug, trebly introduction, thumping drums, and Bruce’s high pitched strained vocal. Maybe not the greatest Maiden track, but fits the theme of this disc.
      8. Helloween – Future World
      German hair metallers taking the Maiden template to the letter. Keeper Of The Seven Keys was a fine proggy-matal album. This track from Seven Keys Part 2 is maybe not up to the same standard but bears all the hallmarks of what they could do.
      9. Timbuck 3 – The Future’s So Bright I Gotta Wear Shades
      Initially, I admit chosen for the title rather than the content. Haven’t heard this for years – I’m glad I chose it. A Brief check though shows there’s more to Timbuck3 but I find it falling into the “It’s OK” file.
      10. Visage – In The Year 2525
      A song about an imagined future delivered by a band who invented the future of the 80s (well, Midge Ure certainly did).
      11. They Might Be Giants – Robot Parade
      I think They Might Be Giants have made it onto every Afterword compilation I’ve produced so far (weird coincidence – I like them, but wouldn’t call them a favourite). This is from No! – their first album of music aimed at children
      12. Flaming Lips – Yoshimi Battles The Pink Robots
      Ignoring the Cat Stevens rip off on track 1, this is far and away the best Flaming Lips album (out of the 4 I own). Some argue it’s a concept album, but I’m missing the story as it feels like less than half the tracks are based around the theme. No matter, it’s stil0l a great listen from start to finish.
      (and on a happy note: Do You Realise is one track ear-marked for my funeral when/if it ever happens)

      • Why did I not recognise slade? Great song. Have already disappeared down a YouTube rabbit hole of other versions of this song.
        Never heard of the head boys. Great power pop mandating further investigation.
        Had only heard the one Vapours song till now which needs to be further rectified.
        And dare I investigate heavy metal. Shorn of preconceptions I noticed the similarities to power pop!

    • here are the tracks @carl sent out
      01 Laura Nyro – Eli’s Coming

      02 Bruce Springsteen – My Love Will Not Let You Down

      03 Suzy Bogguss – Drive South

      04 Free – I’ll Be Creepin’

      05 Kathleen Edwards – Going To Hell

      06 Steve Earle – Someday

      07 Lori McKenna – When You’re My Age

      08 Dean Owens – Closer To Home

      09 Rosanne Cash – I’ll Change For You

      10 The Lovin’ Spoonful – Darling, Be Home Soon

      11 Eileen Rose – Good Man

      12 James McMurtry – See The Elephant

        • Sorry thought I had emailed it but probably did the usual turning the computer off without hitting send.

          So here it is
          1) UFO Main titles OST – Barry Gray. A bit of retrofuturism to kick things off.
          2) Bright Future in Sales – Fountains of Wayne. The punk Everly brothers.
          3) Lighthouse Spaceship – The Lickerish Quartet. Formed by 3 ex members of, non more power poppy band, Jellyfish. Queen, ELO and Supertramp influences in a glorious stew. And its from 2020! I made the educated guess that Lighthouse Spacehips were in our future.
          4) 25 Days – Hello Saferide. Defunct Swedish band. I enjoy “you stupid fuck” sung in a Swedish accent more than I can justify.
          5) Dance me to the end of love – Madeline Peyroux. I think it is better than the Leonard Cohen original.
          6) Michael Praytor, 5 years later – Ben Folds Five. From the album when they got back together in 2012.
          7) In the House – in a heartbeat. 28 days later OST – John Murphy. Danny Boyle was listening to lots of Godspeed you! Black Emperor whilst writing and making this which I am sure was an influence on this track. And I couldn’t shoe horn in any GY!BE so………….
          8) Next – The Sensational Alex Harvey Band. The OGWT performance of this is iconic. Sometimes singers just own songs. Surely the line “ I swear on the wet head of my first kiss of gonorhoea” can only be sung in a Glaswegian accent? No one else could do justice to this could they? Then years later you find out it’s a Jacques Brel song from the 50s called Au Suivant. This makes SAHB’s version even more remarkable!
          9) Andromeda – The Once and Future Band. A discovery for me with 2020s album Deleted Scenes and its souly prog pop.
          10) Magpie – The Unthanks. I endeavoured to mix it up a bit on the CD. I only really know the Unthanks via their cover of King Crimsons Starless. I was aware of this as it was used on Detectorists and thought it would provide some interesting contrast (and it’s a great song).
          11) A Dream Goes on Forever – Todd Rundgren. A favourite since my teenage years.
          12) Paranoid Android – Easy Star All Stars f/Kirsty Rock – The last of 3 covers on the CD. The horns taking on the guitar parts is a thing of rare joy.

          Thanks to all Kid dynamite ( and others?) for organising and Carl and Rigid Digit for their CDs. This was my first time but hopefully not the last.

          • Lickerish Quartet EP ordered (next on due January according to wikipedia).
            Need to rectify The Fountains Of Wayne blindspot.
            Investigating Easy All Stars.

            And played the CD again today …

          • I wouldn’t say that Hello Saferide is a defunct band (it’s not really a band at all – it’s the singer/songwriter Annika Norlin and when she sings in English she records under the name Hello Saferide and when she sings in Swedish she records under the name Säkert!)
            But she does a lot of things, she recently studied psychology at the university and this year her debut short story collection was published, to positive reviews. So when she gets the urge to record some new songs and if they happen to want to be written in English, Hello Saferide will have another album out again I’m sure!
            I put a Hello Saferide track on a swap once, it didn’t go down well IIRC! 😀

          • I am officially embarrassed – mistaking Madeline Peyroux for Ella Fitzgerald.
            I also though Fountains of Wayne were Squeeze.
            But I did recognise The Unthanks.

        • If you have gone for Eileen Rose’s Long Shot Novena brace yourself for second last song For Marlena. It starts like a delicate ballad, but turns into one of the most harrowing songs you’ll ever hear.

          • The one I went for was Muscle Shoals. It’s a 2020 release, but does include the Good Man track (albeit re-recorded).
            And now I’m off to YouTube for a bit of Friday afternoon harrowing …

            • I bought Muscle Shoals and have to say, despite being recorded at that fabulous studio, it’s not one of my favourites of hers.
              But don’t let me put you off!

      • Here are a few thoughts around my own selection:

        01 Laura Nyro – Eli’s Coming

        I first heard this song in the early 70s, performed by Linda Hoyle and Affinity. It was on Radio Luxembourg. Every week they used to have a “Power Play”. It was a song that would get played once an hour, for a week. I am guessing it was something record companies paid for. I would have Luxy on while doing my homework.

        That version led me to discover Laura Nyro. It was the first song I thought of when the idea for this swap session was mooted. I love the way it starts so slowly, the organ drone, the voice coming in. The second voice then the acceleration. The explosion into a full soul song. The final slow down – the longing concealed in the warning. The way you thing it’s about to finish then that multi voiced coda. Fabulous. I have heard this scores of times. Maybe hundreds of times and still love it.

        02 Bruce Springsteen – My Love Will Not Let You Down

        I had Bruce’s Tracks box set and this track had not particularly stood out for me. However in November 1999 I saw Mary Chapin Carpenter at the Lyric Theatre, Hammersmith and she played it as one of her encores and it just struck me what a brilliant song it was. I’ve loved it ever since.

        03 Suzy Bogguss – Drive South

        Suzy is one of the great country voices of the last 30 years and she has a really engaging personality on stage. A John Hiatt song that has been part of her set for a long time. A great combination.

        04 Free – I’ll Be Creepin’

        Another great voice, though one from an earlier generation. Not their most famous song by a long way, though it was a live favourite. It’s one of my favourites and it fits the theme, so it has to be here.

        05 Kathleen Edwards – Going To Hell

        I have been listening intently to Kathleen’s albums with her (brilliant) new album Total Freedom being released a couple of months ago, so that process brought this song to the fore. I think she’s a fantastic artist and love all her records. This is from Voyageur, her divorce album.

        06 Steve Earle – Someday

        I was torn between this version and Shawn Colvin’s cover, which is also great. In the end I decided to go with an even sex split between the dozen tracks I selected and so I chose Steve’s version.

        07 Lori McKenna – When You’re My Age

        My wife discovered Lori about five years ago, though I think Bob Harris has been playing her for years. I became a convert and this is from her latest album The Balladeer, that came out earlier this year. I was listening to the album and this sprang out as a song that I had to include in this selection.

        08 Dean Owens – Closer To Home

        Dean is a Scotsman whom we discovered when he supported Rosanne Cash around five years ago. We’ve seen him many times since and he is always great value. He’s a massively underrated songwriter. As I recall this song is based on a letter Dean read by a soldier who had survived the first world war.

        09 Rosanne Cash – I’ll Change For You

        And talking of Rosanne Cash, this is from her Rules Of Travel album. She is duetting with Steve Earle (making his second appearance here). I love Rosanne’s voice and think she’s a terrific songwriter and I like that this song gives me an opportunity to introduce her to you guys. It’s hard to imagine that a woman as self assured as Rosanne appears to be would fall for a guy like Steve Earle, with his unstable track record with women.

        10 The Lovin’ Spoonful – Darling, Be Home Soon

        The Lovin’ Spoonful are a band guaranteed to cheer me up at pretty much any time and this is one of my favourites of theirs. The production on this song is very dated, and could perhaps detract from your enjoyment, but it’s such a great song that modern sensibilities are easily overcome. That’s what I think at least.

        11 Eileen Rose – Good Man

        Eileen is a singer who seemed on the threshold of a big breakthrough when Long Shot Novena (the album this song comes from) was released back in 2002. While being on the Rough Trade label may have conferred a certain artistic cachet, they probably didn’t have the promotional muscle to raise her profile enough to make the album a big seller. I love her delivery on the lines “And we both know there’s no weaker thing, Than a woman who loves a man that lies”.

        12 James McMurtry – See The Elephant

        One of the most sardonic singers around. Perhaps he’s too cutting in his observations and his humour for many people’s tastes. I think he should be much bigger than he is. He has toured the UK a few times, but I think he likes to stay in Texas, where I believe he has a decent sized audience and can make a decent living.

        • So Steve Earle was on there twice (and not track 12 as I initially thought).

          The production on 10: it wouldn’t be the song it is with more modern shiny production. The possible datedness adds to it me thinks.
          Been listening to a Lovin Spoonful compilation – I forgot I had it – it’s pretty fine stuff

        • The Lovin’ Spoonful are one of the best pop bands ever recorded, in my opinion.
          Put the lie to us Brits having taken over the world of quality ’60s pop.
          If they’d signed to a better label than Kama Sutra they’d have been far more successful. Jac Holzman really wanted them on Elektra but Kama Sutra offered a bigger advance.

    • OK, I’ve digested the CD from @stellarX the required number of times now, so here we go!

      1: I’d never heard this track before, but it didn’t take long to figure out the band! An unmistakeable sound with that organ. I didn’t discover them until the mid-80s when they had an unexpected hit which I liked, and I bought some of the older stuff then, but not the album this is on, obviously. I like it, but not one of their best IMO.

      2: This has a similar post-punk guitar-chugging sound but sounds like it could be later, maybe even post-millenial? “…they’re only waiting for the new day”…is sung by a guy with a slightly weedy voice, but the guitars are fast and raw and I’m enjoying the riffs and solos and general noise of them. I can’t quite make out if this is US or UK, not a very strong accent. “…the contract killer birthday clown” is a line that sticks out! No idea who they are, but I like it.

      3: This one is confusing to me. The male singer sounds a bit like R.E.M’s singer, and the female background singer sounds a lot like whatshername from the B 52’s, who has sung with them on some track. But it sounds more like an attempt to sound a bit like R.E.M. than actually being them; the lyrics doesn’t really feel like their stuff and there is a sort of alt.country tinge to it that seems off as well. Of course, I only own their first album (which I hated), on vinyl, so what do I know! But it’s nothing like their hits, at least. So a bit R.E.M, a bit…I want to say Counting Crows-ish, plus that woman from the B52’s…I’ve no idea what this is, clearly! 😀 And I can’t make out much of what he’s singing, so no idea what the title could be either. It’s a bit repetitive and a tad dull, but not in a way that makes me skip the track.

      4. Blippy stuff going on underneath a steady beat, a guy singing about “living in the future” and asking “are you having fun?” The initial part is a bit repetitive but quite nice, but I loath the rockier part that sits in between that one and other odd parts – this track changes direction and melody quite a bit, and it’s really only that initial blippy bit that I like. My least favourite track of this compilation, by a mile.

      5. Now, this is better – a chilled-out funky groove with complex beats and a sexy ambiance! The female singer’s voice is a bit Kylie/baby-ish in parts, but not in an annoying way. “The future of our space and time, is not gonna wither and die” is what I think she’s singing. Really cool and funky guitar solo which is really adding to the track without overstating its importance or overstaying its welcome! Now that’s a rare thing for a guitarist… Love this, super chill.

      6. Hm, the sort of drumbeat intro that first appear made me believe I’d get to hear a Prodigy track…but then some echo-y female background chanting and lame piano and synth raindrops turn up and the whole thing becomes a sleepy new age rave come-down instead of building up a proper dance groove…disappointing. Having said that, I don’t hate it, it’s just a bit dull for my taste.

      7. This is what I’d guess you’d call “chill-out electronica” with a slow but sweet groove, and I love it! In fact, I have a strong feeling I’ve heard it before, but I can’t put any names or a title to it. “We are each others destiny”, sings a female with a soulful tone to her voice (so I guess a title could be “Destiny”?) One of my favourites of this CD!

      8. Ah, a 90s classic! Yeah, this is a brilliant track and is impossible to grow tired of. A work of genius by a brilliant band that deserved the hype.

      9. Here’s a new one to me. Sounds 70s but could be a current imitation I guess. Soul revue-style with a pinch of pub rock show, with lyrics teaching us dance moves in the style of the Hokey Cokey and the Time Warp etc. I’d be very surprised if it wasn’t called “Resurrection Shuffle”…! Love the brass, love the fun groove. Just a happy-pill, impossible to sit still to! None of the names that comes to mind fits with his voice, so I guess this is unknown to me, perhaps some UK band of local fame?

      10. The soul revue continues, and this time it’s obvious from the very first notes who’s playing, and no mistaking that voice either (RIP). Brilliant track, brilliant voice, love the funky groove!

      11. I know this but I don’t: that voice is unmistakably the one of FF, so this must be her old group. But I’ve never heard this track before – and this is probably the best one of this CD, one I’ll return to many, many times. A folk gospel, I’d call it, with the chorus saying “Jesus’s gonna make up my dying bed”, so beautiful and with a driving slow beat to it that gives it a bit of a groove. Banjo, guitar and possibly mandolin? This is heaven on earth.

      12. Another voice that you can’t mistake for anyone else, but I must admit that I didn’t recognise the track, even though I do own this album…in my defence I never owned it at the time (but other albums) and only bought it in a charity shop last year. I’ve probably listened to this album no more than twice, so have no relationship to anything outside of the singles. DMS on the other hand was a big part of my 90s! To my surprise I found this track in my WMP, and had to adjust its star rating…I liked it a lot better after hearing it now on this comp!

      So this was a brilliant CD with hardly any duds on it, not proper ones at least! I also appreciated getting two CDs – one with all the tracks edited together into a long groovy mix, and one with all of the individual tracks separately; thank you!
      Looking forward to your reaction to my choices…!

      Bogart’s CD should arrive next week so I’ll get to that one next weekend!

      • Many thanks for the kind review (I suspect you have been gentle with me on a couple of those tracks!). Thanks also for the friendly letter accompanying the CD – it seems that you and Bogart are cut from the same cloth in terms of being genuinely nice folk! 🙂

    • First up for review is the mix received from @Locust, who I am aware hails from Sweden. Understandably enough, a fair few of the tracks in this mix are sung in a language other than my own, which I am just ignorant enough to fail to comprehend. The lyrical impact of each is thus sadly wasted on my uneducated ears.

      Track 01: A heavily atmospheric instrumental of creepy piano and plucked mandolin evokes an eerie sense of a doll’s house in a haunted Victorian abode. Not exactly a foot-tapper and a slightly strange opener.

      Track 02: I am familiar with this biblically-named contemporary artiste and possess the very album from where this track was ripped: a moody, melancholy electro-ballad with the singer imagining their future self. Whilst I’m not in the (rather significant) camp that thinks this album is the best thing since sliced bread, I can certainly appreciate talent and artistry when I hear it – so this was a welcome, familiar listen.

      Track 03: Another chilled and melancholy ballad whose lyrics opine, “I wish we had more time”. Softly lilting female vocals. Something about her inflection makes one suspect English may not be the singer’s first language? Puts me a little in mind of Theresa Andersson, which is never a bad thing (‘Hummingbird, Go!’ being one of my favourite albums of the 21st Century). Pleasant enough and likely a ‘grower’.

      Track 04: A gentle-paced, folksy female/male duet, uilleann pipes and all, sung in a Scandinavian language, which I’m may be wrong in presuming is Swedish. Sadly, I haven’t the foggiest what they are singing about. It feels deep and poignant, however. Not being able to fathom a lyric always places a song on the back foot with my ignorant self – but this is still a nice tune. So far it seems our compiler is in ‘thoroughly chilled’ mood when selecting tracks – all nice enough but as yet nothing has grabbed me as ‘a belter’.

      Track 05: A slight upping of tempo with a second tune sung in a language other than English, again sounding Scandinavian in origin. The best track so far with a 60s semi-psychedelic feel to it, featuring tom toms, flute and Byrds-esque guitar. Again, it’s a shame that I’ve no idea what the lyric is, as I really quite like this one.

      Track 06: Another one I recognise. Spookily, a different track by the same band featured on a CD compilation I received from another member the last time we did one of these swaps. Soft, twiddly, acoustic guitar and dreamy, waif-like vocals being this band’s signature style. Ironically, though this one is sung in my own language, I’m still struggling to understand her!

      Track 07: This track really plays havoc with my head. A truly bizarre, cheerily banjo-led, (apparently) comedic number sung in – erm – Japanese? The only word I can make out (and may be wrong) is ‘Roboto’ (Robot) so perhaps a song about a samurai hillbilly android from the future? Oddly punctuated with comedy sound effects and a middle eight seemingly comprised entirely an argument between cartoon characters on helium. Just weird. ‘Alternative’ K-Pop?

      Track 08: A strong opening female vocal reminiscent of Sheryl Crow eases us into a melancholy ballad with some nice major/minor chord changes that I really, really like (think Aimee Mann). I shall be very happy to learn who this is, and try out more of their music. “Burning bridges for fuel”, is the oft-repeated lyric, which suggests that may be the song title – but I shall refrain from Google searches and await the big reveal. 😉 My favourite track of the mix by a long way.

      Track 09: A definite shift in style with this rocky/punky number about being “ahead of my time”. Mix together heavily reverberating guitar with a wailing, discordant gob-iron and some basic drum bashing and you have a seriously biblical racket. Mercifully brief.

      Track 10: I take back what I said about track nine, which now seems Ivor Novello material in comparison with this dirge. Monotone gravely vocals, and a lead guitarist randomly attempting every note humanly possible yet ultimately failing to spot anything remotely resembling a tune. Perhaps if you are into Satan worship, or deaf, you might find a redeeming feature here. Give the lead singer a Strepsil and the lead guitarist some guitar lessons and it might be salvaged. Not one I shall be revisiting, however.

      Track 11: An up-beat gospel number urging the listener to “save our planet”. You can’t fault their enthusiasm. A little bit happy-clappy but I applaud the sentiment, of which Greta would be proud. Still – it brought a much-needed smile to my face after the previous track. I was mightily relieved that the vocalists made it to the end of the song however, as I feared their heads might explode during their histrionic vocal climax! I think I need a lie down now…

      Track 12: Another brain-twisting experience: A jolly, bubbly, reggae-like beach party number – again in a Scandinavian language. Global warming has clearly increased the numbers of palm trees skirting the Baltic these days. It did briefly make me think ‘Eurovision’ and a cold shiver ran down my spine – but it’s cheery enough.

      Track 13: Aha – a bonus extra track! A witty ditty that could well hail from an early musical of the last century. The lyric amusingly ponders bizarre behavioural extremes to save time, for its own sake. Quaint.

      How to sum up? Certainly a varied collection of different styles, genres & languages. The compilation starts of extremely mellow but perks up tempo-wise after the mid-point. I recognised two of the artists and a couple of links to the theme but on the whole am embarrassingly ignorant of the ‘who’, the ‘what’ and the ‘why’ – so I’m looking forward to the reveal. Most of the compilation is perfectly pleasant – but there is only one track in there that I can see me seeking out to listen to again, or to further investigate the artist (Track 8). Regardless, thank you for the experience – I always genuinely appreciate all the thought and effort that goes into any compilation. Cheers! 🙂

      • 😀 Thank you, I needed a good laugh after a horrid day at work today!
        I’m glad you liked one track at least…I always enjoy throwing in some odd choices on these themed CDs. But this time around I actually like all of the tracks I chose, which I believe is a swap-first for me! Though I’d agree that tracks 7 and 10 need a certain mood to get into…but satanism is perhaps a mood too far! 🙂 A couple of the tracks use a generous interpretation of the theme, I suppose, but a good lawyer could make sense of those choices as well!

        Thanks again for the review! I hope your ears aren’t hurting too much… 😉

        • Ha ha – not at all – I actually quite liked a number of the tracks – but the one mentioned stood out in the crowd for my tastes is all! As I always say, there is never a ‘wrong’ and a ‘right’ when evaluating music as every song speaks differently to every person. 🙂 Glad you took the review in good humour, as was intended. Cheers! 🙂

    • I approached @Bogart‘s mix with some trepidation. Having been paired for a previous swap, our respective reviews made it glaringly apparent that there is scant cross-over in our musical tastes, or at least what we consider appropriate for these swaps. As opined before, that’s not to say one of us is ‘right’ and the other ‘wrong’, as musical appreciation is totally subjective. However – whilst my fears were partially realised, I was pleasantly surprised at how many of the tracks I genuinely liked. The CD was accompanied by an extremely friendly letter and a ‘joke’ free gift, which was thoughtful and suitably appreciated. 🙂

      Track 01: A brief but atmospheric synth + cello intro heralds a familiar offering from a personal favourite U.S. West Coast ‘alt rock’ popular beat combo. This is one of a couple of their CDs that I own, but haven’t listened-to in a while. Hearing this reminds me to remedy that situation. A solid opener.

      Track 02: A truly tremendous second track to the compilation. This brilliantly produced, dreamy number repeats the lyric “light years from home” which may be the title. It was during the fade out/quiet finale that it struck me who the vocalist is (and thus the New Romantic band it must be) – reinforced by the saxophone in the mix. Absolutely loved their seminal/classic ‘Lexicon’ album and it’s equally tremendous 2016 sequel – but this is not one of theirs I have heard before. Total quality.

      Track 03: Oh dear. A biblically preposterous, over-blown and self-indulgent 60s/70s prog rock monster of a track. Though I have a predilection for certain exponents of this oeuvre – I struggled to get onboard with this one despite repeated listens – which were a true endurance test. I’ve no idea who it is – but the lead ‘singer’ has a completely monotone/shouty style that is a real turn-off. Lord knows how they managed to convince anyone that twelve minutes of this would work on a dedicated LP, let alone on a CD mix. 😉 After two great tracks, this totally killed the vibe of the mix in one fell swoop. I suddenly find myself thinking of D:Ream’s ‘Things can only get better’.

      Track 04: And they swiftly do… considerably! You will clearly recognize one of the tracks on my own compilation which is from the same 90s ambient/electro-pop outfit. Atmospheric, hypnotic, dreamy, addictive stuff from FSOL. Another winner – but then you already knew that. 😉

      Track 05: Next we have a definite departure in terms of style with a speakeasy piano jazz instrumental. I could hazard a guess at who is at the keyboard but I’d only embarrass myself. I much preferred the (all too brief) slower, melodic section rather than the rather stress-inducing faster, discordant riffs. I can get why people appreciate the musicianship – but give me an easy to follow tune any day. It’s probably performed by a recognised genius of the form – but to my ears the genre is somewhat inaccessible and only annoyed me more, the longer it went on.

      Track 06: MOR folk/rock sung by a Suzanne Vega clone, waxing lyrical about some faceless ‘Mary’ being an object of affection. Harmless stuff but not exactly a ‘grabber’. The voice is familiar but I can’t quite place it. The ending is the best bit (read into that what you will). Having been even slightly mean in these comments, I may well live to regret them.

      Track 07: Good God this is terrible! After several listens (damn your eyes) I think I figured out it is being sung in English (of a fashion) and perhaps I recognise the repeated lyric “here come the dinosaurs”? Perhaps Spike Milligan has revisited us from beyond the grave and over-indulged on the loopy juice. You’re going to have to forgive me but this is very likely the worst ‘song’ I have endured in many a year. Christonabike it’s painful – and for almost seven minutes. If I never hear it again, it will be too soon.

      Track 08: Next up is a floatily-orchestrated, witty ditty sung in semi-operatic solo vocal about a female weather forecaster (hence the ‘future’ link, one suspects). Call me old fashioned but I much prefer a familiar song structure: verse, chorus, perhaps middle eight and/or instrumental – and with any luck a recognizable melody. I suspect the artiste is trying to represent the changeable weather in the frequent/bizarre chord shifts. Yes it’s all very clever and humorous but just because you can doesn’t mean you necessarily should. Overall a bit of a mess and not anything I shall be seeking out further.

      Track 09: “And the hits just keep on coming…” the devil’s own arse-scrapings: shouty/hip-hop noise with attitude. I have to confess that though I endured repeat listens of some of the prior tracks, once was more than enough with this. Nothing to see here, move along…

      Track 10: Phew – after a tortuous few tracks, something I can appreciate. It’s a no-brainer who this is, due to the distinctive brit-pop front-man’s vocal style. You either love him or hate him – and I am firmly in the former camp. A slow, eerily chanted intro picks up pace and builds and builds to a climactic crescendo. Even at seven minutes, it doesn’t seem enough. Nice one.

      Track 11: You’re definitely back in the zone now – no idea who this is but I like it. Groovy modern-day electronica. The diddly keyboards puts me in mind of Field Music and the driving bass-beat is reminiscent of Hookworms – but the vocal’s all wrong for both of them. A repetitive groove but if you like it (and I do) that’s a good thing. Very keen to ascertain who this is and to dig deeper.

      Track 12: Unusually a second track from a band already featuring earlier in the mix. A pleasant, gentle, rhythmic guitar ‘reminiscence’ of life experience. It’s only just struck me how much this sounds like Bill Botting & the Three Drink Minimums (or rather, vice-versa). Perfectly serviceable bookends to the mix.

      Track 13: Aha! So you also tagged on a sneaky extra track did you? Hmm. Sorry to say, having listened to it, vocal warm up and all, I’d rather you hadn’t. An uninspired ‘trad. arr.’ acapella choral. Sadly the ensemble appears familiar with fewer ‘chords’ (in a vocal capacity) than Status Quo.

      This was clearly a love/hate roller-coaster ride for yours truly. The tracks I liked, I loved – whilst the tracks I didn’t, I loathed – in an almost 50/50 split. I cannot fault the compilation in terms of variety however. Some of the artists and songs are familiar fayre – in a good way – and there are a couple in there I have not heard before that I shall definitely be pursuing further. I always think that if I am introduced just one new artist or one new song per mix, that I really like, but was previously ignorant-of, then it’s ultimately a positive experience. Thankfully both of my official partners came up trumps in that respect. So thanks again for the ride – I enjoyed it – warts and all – and await your deserved ‘review revenge’… 😉

      • So, traditional behind-the-scenes swap feedback for @stellarx

        I enjoyed all of this on one level or another (OK, the fact that I already own five of them probably helps!), though obviously some more than others.

        1) Classic to open with, it made my initial longlist.

        2) This piece of timeless (ie, no idea when I was recorded) garage rock was my favourite that I didn’t already know. Liked it from first listen and it grew from there.

        (Footnote – I admit after writing this feedback, I cheated and used Shazam to identify it, and this lot have serious pedigree, being a supergroup of two firm favourites from way back (and kicking myself that I didn’t recognise the vocalist) – more thoughts on that after the official reveal!)

        3) Another track I know, from a great album. Theme link might be the title of that album? Either that or the song title is a frankly disturbing insight into your future plans for the weekend…

        4) This (and #7) were probably the – relative – low points. Musically it’s pretty decent, but the vocal is a bit whiny.

        5) This was the real grower on here. Enjoyed the shuffly opening and general atmosphere, but it wasn’t exceptional and went a bit Yacht Rock (and not in a good way) with the guitar solo (Guitar Solos have the same effect on me as profane rapping does on you!). But with repeated plays the good definitely outweighed the bad and the soloing became less grating.

        6) Another classic. As I mentioned to KD in my feedback to his mix – that also contained this – I nearly included their “Life Form Ends” song as a double whammy of track and act name. But it wasn’t strong enough to make the cut in the end.

        7) The other low(er) point. Blissed out soul-pop trip-hop with Balearic guitars. Pleasant enough and I didn’t skip it on any of my listens, but doesn’t really do much. It’s not them, but I much prefer Groove Armada in “Superstylin'” or “Song 4 Mutya” mode than doing the likes of “At The River”.

        8) Another classic (must stop describing the ones that I already know as classics, it’s very arrogant) that got a lot of publicity from being in That Film. Feel I’m missing something obvious on the Theme Link front here…

        9) This is an odd one in that I recognise it and have liked it previous hearings, but have no idea where I might’ve heard it (it would fit nicely into an episode of “Supernatural”, so that could be it) or who it is.

        (Footnote: I have a playlist of “Soft rock / AOR songs for driving long distances to” (which I started when driving across California a few years ago and has evolved / expanded ever since) and – having cheated again to find out what it is – have added this. Make of that what you will…)

        10) Love this. Rich and soulful stylings. Think I might know who she is, but may be wrong.

        11) Nice sparse piece of folky Americana, someone like Waxahatchee or the like? I don’t always have a particularly high tolerance for this kind of stuff, but I did like this one rather a lot.

        12) The last one I already own, and it makes a great closer. Their first couple of albums are excellent.

        • Cheers for the review! 🙂 Am pleased (and staggered) that so many of them piqued your interest – and glad that you liked at least one in there you had not heard before. I must be slowly evolving from my traditional “must try harder” efforts into “vaguely acceptable” territory! 😉 If it’s not flaunting protocol, having received all possible reviews now, I shall shortly post the track reveal with some accompanying explanations of theme links etc.

    • @stellarX

      Tin hat on, poison pen to the ready…….. let’s go

      1) “Tell em Hugh”….. what a way to start, when we reminisce about our future past and fondly create list’s of great singles bands, this lot often get overlooked yet the run of 8 singles from the debut of Grip though to Duchess is a match for just about anybody else in singles history. And this one was of course this was a double A side with the equally wonderful Straighten Out…..

      Steller X has set the bar set high, will the rest of his choices come even close to matching this? As Commander Shore would say “Anything can happen in the next 30 minutes” so what’s next

      2) As the second song ends there is the almost inevitable feeling of after the Lord Mayors Show. Not to say that track 2 was a bad song, compared to the opener it seemed mundane, pedestrian, workman like. Trying to place this, ‘vibe’ says late 60s early 70s riff & rock, but the vocal sound seems to indicate a 90s or 00’s band under the influence of the late 60’s early 70’s. The singer keeps informing us that he’s waiting for the new day which I guess is the nod towards the theme. Didn’t enjoy it first but it is growing on me, not enough for me to pursue it any further at the moment, but if they have something in their catalogue that is on a similar level of good, well then maybe I would.

      3) Often cited as being from their golden period, the frustrating thing about this was trying to think what the track was called. The parent album was one of my early CD purchases and unlike L P’s were you would study the sleeve as the record played getting to know the titles, reading the lyrics etc with a CD the case was cast aside and you’d just let the music flow. This meant unless it was a blatantly obvious or it was catchy title repeated often in the song, Shiny Happy for example, the name of the song would remain unknown. This is one of them, great song what ever it may be called. And KP has a wonderful voice.

      4) Was there a band called Living in the Future and could this be their eponymous single . Time wise it sounds as though it’s from the era of Blancmange, Red Box, China Crisis, early to mid 80’s? Pleasantly poppy but a bit to clever for it’s own good as the tempo chops and changes, electro pop with guitar riffs made by committee. Next.

      5) I was in a cafe in Buxton the other day, like many such establishments that seem to be popping up all over at the moment it also sells (over priced) second hand records. One of which was the Distant Cousins first album, I did consider buying it as I’d enjoyed guitarist Neil Fitzpatrick musical output both in the Smirks and The Bernhardt’s, but as I say overpriced cafe prices. This this track is in a similar vein to DC a poppy soul sound, the vocals bring to mind a hybrid of Janet Kay and Anita bell. Not to shabby, rather enjoyed it. Theme wise, I guess it’s all about looking to the future and the changes that may occur?
      Should have bought that DC album.

      6) Electonica dancey sort of thing. FSOL….

      7) Ambient-ish keyboards, beats and an acoustic to start with, then a voice that rings a bell,(and no that’s not Anita Ward track 5 pun-reference) the song itself reminds me of the sort of thing you hear in a film as the hero drives around night time LA during a moody reflective sequence. The vocal is on the line between being interesting and down right over affected annoying. Didn’t do much for me, inoffensive which is probably damming with feint praise. Theme…not sure as mind tended to wander during it.

      8) Another one that is recognisable due to previous hearing, but as it has never managed before to make me get of the couch to seek out the artist or anything else he/they may have done, chances are it wouldn’t this time. And it didn’t. It’s not that I dislike like it, it just doesn’t do anything for me, it just sort of exists for 6.09 in a pleasant enough manner but once it ends it’s forgotten.

      9) A Chin-Chapman style drum intro, the mind skips ahead, I hear Brian Connolly …
      Are you ready, Steve?) (Uh huh)
      (Andy?)
      (Yeah)
      (Mick?)
      (Okay)
      (Alright fellas – let’s go!)
      then as the piano, guitar and horns arrive the penny drops and the feet start to errrr shuffle. When ever I hear this track I’m back at the May day Funfair’s of my youth, the smell of diesel, grease and cooking fat, avoiding the ‘hard nuts’ hanging around the Waltzers, trying (and failing) to look cool as I ride the Speedway. By heck I fancy a hot dog.

      A Cracking song.

      10) It’s a matter of time the singer sings, soul time, as she looks to a utopian future . This is good reminds me I haven’t got enough of this type of music.

      11) Acoustic guitar, banjo, Americana vocal, she’s sounds familiar, a hybrid of country gospel, interesting, but I get the feeling that if I should I seek out more it would be disappointing. Some artists you need only one song from. I fear she maybe one of them, but will risk disappointment and check some of their/her catalogue when I know who it is.

      12) To these ears it sound like Brett Anderson which probably means it’s Suede and if that’s the case this is an anomaly as I have disliked every single thing I’d previously heard by them, to me Suede is a real case of Emperors New Clothes. But this is OK, well it gets a bit pretentious and overblown in the middle, but the bit’s where they/he aren’t playing to the crowd are rather good. If it his him/them it hasn’t changed my mind about them, it just proves that infinite monkeys will occasionally write a Shakespeare play.

      Over all nothing that had me scrambling for the skip button but then again of the ‘new to me’ material nothing that grabbed me and demanded I immediately search out the artist as a matter of urgency. A couple I will eventually get around to checking out, or should I say probably will as these days if I don’t do it straight away it tends to get forgotten about.
      If I had to make a criticism the only thing I would pick up on was that it was a wee bit ‘safe’ there is nothing on here that challenges the listener, nothing that makes them have to work to enjoy the sound, nothing that would incite a real gut feeling reaction be it “love it” or “hate it”, nothing that pushes the boundaries of musical listening.

      On the whole a darn good selection, one that if you received it is a an invite to come around to Stellar’s abode and listen to music wouldn’t have you trying to think of excuses not to go, it would have you stocking up on Oatmill Stout, getting ready for some pleasant sounds and interesting conversation about musical differences.

      • Ha Ha – many thanks for the kind review – I think I got off incredibly lightly given how vociferous my criticism was of a couple of tracks on your own compilation! Hands up, I absolutely ‘own’ that justified ‘safe’ label – as I generally try and make my mixes accessible to most without boring or outraging anyone. Mea culpa! The only time I experimented was when I included an Ice Cube track a couple of swaps back and NigelT wasn’t a fan of his potty-mouth lyrics (actually, neither was I – I just tolerated them as I liked the song). I’m very much in the pedestrian old school of “it’s not big and it’s not clever”! 😉 I agree with you and Locust about Track #2 – the singer’s voice is a tad ‘weedy’ and I didn’t kike it much when I first heard it – but it grew on me and now I greet it fondly for repeat listens. Will allow Kid Dynamite the big reveal moment and then bore you senseless with my tenuous links to the theme… 😉

    • And secondly it’s @Locust the cover uses the same minimalist approach as Working Men’s Club new opus and if the content is as good I’m in for a treat..

      Track 1) A piano plays a discordant incongruous dystopian waltz, what a wonderful way to open the selection, the names Les Dawson and Victor Borge spring to mind, also and more in keeping with this being a Afterword collection so does Tom Wait’s. I don’t know who it is but I want to replay it again and again, but there are another 12 tracks waiting so I’ll be back later Mr Pianist.

      Track 2) Listen 1:-Oh gosh this is just awful, over the top affected vocal that grates, dreadful minimalist arty farty music.
      Listen 2) :- Oh well it’s not as bad as the first listen, just bloody annoying and to clever for it’s own good, faux emotional vocal
      Listen 3 :- Err hang on……
      Listen 4 :- Bloody heck actually this is rather good….
      Listen 5 :- Very very very bloody good….. like a fine wine it gets better with age… incidentally I don’t like wine but what the hey!
      On first hearing I thought it was Anthony (and the Johnson’s?.. can’t remember the band name) and what I’d heard from him before hadn’t struck a chord with me. If this is he it’s changed my mind and I shall be seeking out more of his releases. Theme 20 years in the future?

      Track 3) Similar musically and vocally to the previous track with the exception being that the vocal is female, ambient laid back song with a very enunciated female vocal repeating the mantra “I wish we had more time” which I’ll guess is the link to the theme. Another excellent choice.

      Track 4) A folksy song sung in possibly Swedish, the female voice sounds like Mary Hopkins, reminds me of the something written by committee, the inoffensive, bland folk music that you can hear in pubs and clubs on a Friday night or that used to turn up on the Saturday night TV variety show in the mid 70’s.

      Track 5) Late 60’s hybrid of folk and psychedelia, for no understandable reason my mind is shouting this is the Scandinavian version of the Hollies when they moved from 60’s pop into 60’s ‘hippie’ pop. Not for me this one..

      Track 6) The Swedish Joanna Newsome? …….. oh hang on is she singing in English? I think I heard her sing ‘future’ but apart from that the theme content is alien to me. Song wise, pleasant enough but doesn’t make a lasting impression.

      Track 7) A comedy track? Is it an intentional comedy track? Once again I refer to those dreadful mid-70’s variety shows, there’d always be a ‘zany’ ‘wacky’ turn, Baron Knights take a bow, who’d play songs, use daft voices, make (supposed) jokes. At the other extreme this also sounds something like Frank Zappa would produce and claim it was cutting edge contemporary satire. Utter bobbins or demented genius, it’s a fine line. But either way it’s bobbins, utter bobbins.

      Track 8) Female vocal, up-tempo ballad. Starts out sparse understated backing and builds towards a Spectorish but not quite wall of sound. Yep enjoyed it. Enjoyable but not earth shattering.

      Track 9) Initial opening guitar sounds as though it’s an opening to a 60’s sci-fi TV show, then vocal enters and adds fuel to this theory, instrumental break seems to reiterate that this should be theme for a TV show about the future, although as the singer often proclaims that he is 5 years ahead of his time it would have to be a TV show about the near future. Another enjoyable slab of noise.

      Track 10) Hmmmm, are we still in the 60’s, are these a support act on one of Floyd’s all night party things, I’d guess with a light show, an altered state of mind and solace that as long as this is playing you don’t have t listen to Floyd it could be tolerated. Actually it probably not it would be a case of leave early and get the last train. Thing is though as dire as it was it caused a reaction and that what music should do!

      Track 11) Gospel sound by rote, vocalist is a wee bit bland but maybe his eco message about saving the planet is more important that the ‘pipes. Can’t really go wrong with a bit of gospely type toe-tapping, a nice bit of filler but not something you’d lose sleep over if you never heard it again.

      Track 12) I guess this would be found in the World Music ( Jit jive) section of your local music emporium. Jit, African ‘pop’ or what ever genre this falls under is a something I have a great appreciation for and this is a cracking. Great stuff indeed.

      Track 13) A film song? It reminds of the sort of thing that would be played on Junior Choice and would inevitably be sung by Danny Kaye. A grand way to finish a real smorgasbord of a selection.

      What a great selection, even it’s nadir was so awful that it causes a reaction and that’s what music should be doing.
      Be interesting to see whose who come the big reveal and will check some of the artists other work out as a result of this compilation

      • Love it, @Bogart – and really interesting to see how differently the two of you reacted to the same tracks! Can’t wait for the reveals, but first I must review your own compilation.
        So I’ll do that right away:

        1. Eerie, melancholy intro leading into a raspy voice singing over a rock/Americana type track, quite atmospheric and a good start to the CD, although not exactly mindblowing. I’ve no idea who this is, a solo artist, band? Definitely US.

        2. “Space-noises” behind sparse melodies and a whispering singing voice going on about being “lightyears from home”. Voice is strangely familiar but song is not and I can’t figure out who it is. Like it a lot, however.

        3. Which is a lot more than I can say about this absolute torture! Are those recorders? Mumbling singing turns into a medieval prog musical in Andrew Lloyd Webber-stylee, already at 3 minutes I’m begging for mercy, at 7:45 they’re having a sax and organ jazz fusion jam that makes me wince, and I still have almost five more minutes of this to endure…the singer’s voice is getting raspier and more annoying, I’ve no idea what he’s warbling on about or what it has to do with the theme. To me the vibe of the music makes me think of some Game of Thrones warrior on the West End stage bemoaning his fate to a papier maché dragon (this track would take up most of the first act), but if I could make out the words I’m sure it has something to do with future or space – or a future in space, perhaps. I only listened to this twice, and both times I thought it was dull but OK to begin with, but because it just wouldn’t stop I ended up absolutely hating it in the end! Sorry, I can sort of get the appeal of the over-the-top-ness of this, but I just don’t have the stamina for twelve+ minutes of it…

        4. Rhythmical intro to some spacey electronica instrumental, melodical and atmospheric. Sounds like a visit to a jungle planet in a galaxy far away, where multicoloured elephants are dancing 24/7, and we’re all invited to rave alongside them. Lovely stuff, especially after the previous track!

        5. A jazz trio play, and it takes me a while, but aren’t they actually playing a very strange and convoluted modern jazz version of “Something’s Coming” from West Side Story? Or am I going slightly mad? Either way; I like it, quite a bit, as jazz goes. But I’d probably enjoy the original musical soundtrack version even better, TBH (if that’s what it is).

        6. Folk-pop style track by some female singer of nondescript voice, singing a song that tell us about a fortune teller called Mary, with fairly standard messages and simple rhymes. It’s not bad, just a bit dull.

        7. WTF? Musical mish-mash of an insane kind, no idea what the “singer” is mumbling, babbling, yodeling, shouting, whispering, talking and muttering about, it sounds more or less improvised on the spot to me, or as if he forgets half of the lyrics and makes random noises in their place. Someone is trying very hard to be avant garde/art poppy/entertaining/eccentric. I’m starting to feel the urge for a stiff drink about now…this is very tiresome. And why are all of the worst tracks extra long??? Not for me, thanks.

        8. OK, this is much better. Sort of modern opera/song cycle stuff, “she sings the forecast” (“a-a-a-aaa!”) with a piano and male choir backing with some strings etc. Beautiful, but the lyrics bring a sligthly comical touch to it all for me. Some fairly modern/contemporary British composer I’d guess? Not 100% sure about his voice, it lacks a little something for my taste. But this is pleasant as a whole.

        Unfortunately at the very end of the track some audio noise start to crackle and hiss, and this continues even worse on the next track, which I can just about make out is of a hip-hop/rap style, but it’s impossible to listen to thanks to the damaged sound.
        Same thing with track 10, which I can’t even make out what type of music it is, so I just have to skip these two and go directly to:

        11. Monotone voiced man is singing/talking over a synthesizer and drum machine backing with a girl joining him for the chorus of “You’re my sunshine suicide, break my mind”. Sounds a bit 80s, but more inspired by than actual 80s, production-wise. It started a bit meh and repetitive, but by the third time listening I started to really enjoy it. And the chorus is very catchy, great arrangement as well. No idea who it could be or which era it’s from, but keen to find out.

        12. Another Americana-singing/talking raspy-voiced guy. It’s a bit like Howe Gelb, but the tone of the voice seems thinner, not as rich and warm as Gelb’s. Very monotone and lacking a chorus, which I’m not a fan of. But it isn’t at all unpleasant, I just wish he’d been arsed to write a chorus, with a few other notes than the two or three that he’s using through the rest of the song…if he’d done that I would have loved it! As it is, it just makes me a bit restless. Also, if you don’t have a chorus or a bridge, or even much of an instrumental break, 5:22 is a long time singing the same monotone notes over and over again, even with a good lyric, IMO.

        13. Bonus track starts as pub chatter turning into mutual a cappella singing, then counting in the mixed choir to sing some old (?) folk song that I suppose is meant to comment on the upcoming Brexit times? Or is it a newer song written in ye olde stylee? I do like a choir most of the time, but I don’t think I’d seek this out again if it didn’t appear in random play. I’ve heard better choirs and better songs, although this chorus is stirring enough.

        So that was all of it – unfortunately with two tracks missing due to audio problems – and apart from a couple of really horrible experiences I did enjoy a majority of the tracks. And I think it’s the first time I’ve received a swap CD that contained no tracks previously known to me or artists I could recognize (although I can’t say if I do know any of the two I couldn’t hear), so that was also nice. Also thanks for the nice card, extra little fun gift and your effort with the CD cover!
        Sorry about trashing some of your choices…IIRC you had a long progtastic track I didn’t like on your previous swap CD as well, so you probably expected that review! 😀

        Thanks again, looking forward to both the reveals (and telling you all about mine)!

    • Hopefully not stealing the wind out of Kid D’s sails – as all my reviews are in, here is my own track listing and often extremely tenuous links to the theme:

      01: Something Better Change by The Stranglers
      The track intro is (IMHO) a perfect lead-in to any mix. “Something better change” warns that something is wrong and needs sorting out at an (imminent) FUTURE juncture.

      02: New Day by The Surfing Magazines
      First time I heard this I wasn’t so sure – but after repeated plays it really grew on me and grabbed my attention. Love the guitar solo riffs. The ‘New Day’ being ‘Tomorrow’ – i.e. always a day in the FUTURE.

      03: Me In Heaven by R.E.M.
      Last track from the ‘Out Of Time’ album – and everyone clearly spotted the guest vocalist, which threw some off the scent. My interpretation of the theme link is me being in heaven is something I hope is a ways off in my FUTURE.

      04: Living In The Future by Mini Mansions
      The link is self explanatory from the title. I absolutely love this band and was desperate to include something of theirs in the mix – sadly the theme precluded such stonkers as ‘Any Emotions’ or ‘Death Is A Girl’ – don’t be put off if you didn’t like this one. ‘The Great Pretenders’ is a fab album and their other two ain’t bad at all.

      05: The Future Song by Vanessa Paradis
      Again the link is obvious. Taken from her eponymous (3rd) 1992 album, which was mostly written and produced by Lenny Kravitz, whose guitar style is all over the album. I don’t own anything else by here but I absolutely love this entire album, which does not feature two tracks of the same style.

      06: Papua New Guinea [Monsoon Mix] by The Future Sound Of London
      Just realised I think I mixed up tracks 6 & 7 on the listing I gave to Kid D – so it’s just as well I am listing the tracks myself for fear of confusing the hell out of everyone! The Band name is the link – and I think at least 3 others included a track of theirs on other mixes. So much for my brilliant originality!

      07: Destiny by Zero 7
      A person’s destiny is where they are fated to end up at a juncture in their FUTURE. So sue me. 😉 Chilled stuff, with occasionally over-affected vocals – but always a favourite.

      08: Dry The Rain by The Beta Band
      When you use or test a Beta version of something, you are getting a FUTURE peek at something yet to be released. I’ll get my coat. Fab, drowsy slide guitar.

      09: Resurrection Shuffle by Ashton, Gardner & Dyke
      I absolutely love @Bogart‘s summary of this one which largely echoes my own feelings about it. Surprisingly good early 70’s soul-pop. The contrived link being ‘Resurrection’ is something that allegedly occurs after death, hence for anyone listening to this song, that’s a point in their future – whether you believe in it or not!

      10: Matter Of Time by Sharon Jones & The Dap Kings
      Th FUTURE is indeed only a matter of time. Total class (as usual) from this much missed Soul Diva.

      11: In My Time Of Dying by The Be Good Tanyas.
      Another fatalistic view of my FUTURE? Loved their first two albums and got to see them live at Telford’s Warehouse in Chester many years ago. Brilliant to see at such an intimate venue. The harmonies were just as wonderful in person.

      12: The Next Life – by Suede
      I purposefully tried to gradually slow down the tempo of the mix to this finale. Yet another view of the FUTURE pertaining to destiny, death & resurrection. What a depressing selection! I blame Covid fever.

        • Oh yeah – my bad! In which case I’ll switch to the ‘Out Of Time’ end of everything FUTURE link. Just put it down to me being on too much Malbec when compiling the thing! 😉

      • BTW, I’ve no idea why I thought it sounded like Michael Stipe, but not enough like him to actually BE him…that was weird.

        But not as weird as not recognizing “In my Time Of Dying” – a song that I have several versions of in my collection – being both a fan of the blues and of Bob Dylan. However, I rarely listen to Bob’s first album, and this is the first version of this song that I’ve absolutely loved. It still doesn’t explain how I…a) failed to hear the opening line and connect the already connected dots…b) genuinely believed that this was a song I’d never heard before in any version…c) after writing my review when I went on YouTube to try to find the song, why I never bothered to click on any of the videos of TBGT singing “In My Time Of Dying”, because “I know it’s not that one, because that’s a song I know”! Obviously I can’t have actually listened to it for at least ten years, or at some point some faint little spark should have lit up in the old attic. Unbelievable!

        And yes, now that you tell me; of course it’s Vanessa Paradis! Doh!

    • @StellarX, @Bogart: OK, may as well post my track list too then!

      1. Oändlig Vals (“Infinite Waltz”) – Barbro Hörberg.
      This is an anomaly, being an instrumental track by a popular Swedish singer-songwriter who wrote songs in the French chanson tradition, and also translating/interpreting some French chansons by Barbara and others. Known for her poetic lyrics! She died too young of cancer, mid 70s.
      If something is infinite is will go on into the future…so that’s why.
      Interesting how differently the both of you reacted to this one!

      2. Me In 20 Years – Moses Sumney
      From his 2020 album Grae. I adored his debut album Aromanticism from 2017, putting it as my number one on that year’s AW Best Of Year list, and initially this new one didn’t live up to my extreme expectations…but not unlike Bogart’s reaction to this track I gradually fell in love with this album as well (although not quite as much as the previous).

      3. Wish We Had More Time – Alice Boman
      Swedish artist, who had us waiting for years for a follow-up to her debut EPs, apart from a few singles it was six years between the last EP and her first proper album Dream On that was released this year. It’s brilliant and well worth the wait! Bound to be in my Best Of list for 2020. Here she’s wishing for another future of a relationship that is falling apart…

      4. Jag Väntar (“I’m Waiting”) – Sofia Karlsson
      From the 2005 album Svarta Ballader (“Black Ballads”) where she’s interpreting the poetry of Swedish favourite Dan Andersson. I guess you need to understand the lyrics to love this one! In this one s(he) is waiting for and daydreaming about a lover visiting him in the forest where he’s watching a charcoal pile, imagining their upcoming reunion. I love this, but perhaps it’s just a Swedish thing! 😉

      5. Nästa Sommar (“Next Summer”) – Dungen
      Sweden’s best band? It’s very possible, one of my absolute favourites anyway. This is from the album Skit I Allt from 2010 (one of their best IMO) and unfortunately ripped in less than ideal audio quality, due to having a crap computer at that time and unable to rip in a better format. I usually re-rip these older albums when I want to use them for compilations, but I’m fixing up my flat and my physical copies are stashed away and it’s impossible to find a particular CD at the moment, so I had to make do.

      6. St. Francis and the Future – The Innocence Mission
      Another 2020 track, US indie folk pop? I’ve no idea what she’s singing about, but the future is in the title! I like it, but it’s not the kind of music I get very passionate about. Nice background music when you want to relax, more like.

      7. You Can Be A Robot, Too – Shintaro Sakamoto
      I don’t know if Japanese artist Sakamoto is serious or not, I think this is his idea of slightly psychedelic whimsy! There’s more of the same on the album I own, Let’s Dance Raw, including more helium voices and a constant sensation of standing on a floor of Jello…and I rather enjoy it when I’m in the mood. Not understanding the lyrics probably help in this case!

      8. Burning Bridges For Fuel – Nina Persson
      Former Cardigans singer Nina from her mostly excellent solo album Animal Heart from 2014. I love this track, and I’d also recommend her other band, A Camp and their two very good albums. And – of course – if you haven’t heard the album Long Gone Before Daylight by The Cardigans, it’s a stone cold classic up there with the very best (and very different from their other albums).
      This lyric is about moving forward from your past into your future, closing the doors to the past as you go.

      9. I’m 5 Years Ahead Of My Time – The Nomads
      Swedish garage punk from 1983, by a hugely influential band (in Scandinavia). This track is a cover of a 1967 track from a New York band called The Third Bardo, the original is more psychedelic. Again, a bad rip, but bad audio quality isn’t as noticable for this kind of racket!

      10. Greenhouse Heat Death – King Gizzard & The Lizard Wizard
      I’m surprised that you didn’t enjoy this one, actually! I love this Aussie psych rock band, but they do have two sides, one poppier and more whimsical (which I guess is easier to digest for most people) and one leaning more into hard rock, which I guess this track does. They are also almost too productive, which can take a toll on their quality control at times. But this track is IMO the best one off its album, Gumboot Soup from 2018. The title says it all really – a possible future fate on this planet…

      11. Save The Planet – Edgar Winter’s White Trash
      Big fan of the Winter brothers, this is not Edgar’s finest contribution to music of all time, but an enthusiastic gospel that will still put a smile on my face every time. And for a future to exist we certainly need to roll up our sleeves and save what can be saved ASAP.

      12. För Livet (“For Life”) – Peps Persson
      Another very divided opinion among my fellow swappers…Bogart is right in calling out the African influences on this track, although ordinarily Peps is (nationally) famous for introducing both blues and reggae in Swedish, very successfully for a very long time.
      “I play for life, and forget about death, as on that horizon no light can be seen” he sings in this evokation of hope. We can need some of that right now! Love all of this lyric, and I have a soft spot for Peps, he’s a genuine musician and person and he’s working for the good side. I don’t love all of his music, but even when I don’t I still like that he’s doing what he’s doing!

      13. Think Of The Time I Save – The Pajama Game Original Broadway Cast
      One of those musicals that most people are ignorant of, but I’m certain that most would recognize several songs from it – Steam Heat and Hey There (…”you with the stars in your eyes”…) and Hernando’s Hideaway are all from The Pajama Game! About a strike in a pajama factory and love between the factory superintendent and a Union leader, this song is sung by the factory timekeeper Vernon and is one of my (many) favourite songs coming from a musical. I thought it came close enough to the theme to fit as a sneaky bonus track!

      Thanks for the interesting and funny comments, I hope you find at least one new artist making it worth your time in the future!

      • Thanks for the track list and explanations! So – Nina Persson huh? I have some Cardigans in my CD collection and didn’t spot her voice at all! Will definitely follow up on your recommendation here, and perhaps one or two others. Cheers! 🙂

    • @locust @stellarX

      Nostalgia For An Age Yet To Come…. Tracks and words

      1) From Which I Came/Magic World – Eels Blinking Lights and Other Revelations – 2005
      “the little bundle had arrived”

      Tracks 1 & 12 OK you will have picked up that Eels appear twice.
      Grandchildren was initially going to close the selection, but just as I got ready to burn the disc it struck me that the first track had to be Came/Magic, as nothing encapsulates the future as much as the birth of a baby. While Grandchildren which from the get-go was always going to close the disc is an exemplar that the future is built upon the past could not be dropped. So I bent the rules and kept them both.

      2) Light Years From Home – ABC – Skyscraping 1997
      “Future gazing, no sight or sound”

      Just like anybody with a modicum of good sense I had been smitten with Lexicon of Love upon it’s release, but that was as far as it went with ABC for me, I was aware of their next couple of albums but never felt the need to do anything about it. Then one Saturday in 1997 I saw their, then latest single Skyscraping, it was 50p, so for old times sake I bought it and was shocked how good it was and even more so by this track that was also on the disc. I bought the album as a result.

      3) Childlike Faith in Childhood’s End – Van Der Graff Generator – Still Life 1976
      “a philosophical call-to-arms — in essence, saying that it’s time to storm the barricades of evolution” or so says one reviewer …. inspired by the Arthur C Clarke novel

      Utah Phillips said “you have to mess with people” and this choice was designed to do that. I included it with the strong belief that whoever was to receive the compilation would at best simply dislike the track or most likely loath it with a passion. Why you may ask why bother to include it in that case? Some of the tracks are included because they ‘safe’ and hopefully the listener will enjoy them, some tracks are a wee bit left field but still should (HOPEFULLY) have something that should appeal to the target audience. Then there is the ‘mess with people’ tracks, something that will take them out of the comfort zone, something that will, no let’s make that, WILL cause a reaction, fair enough most likely a negative reaction, but who knows it just may find the right ear. the raison d’être of music is to touch people, to cause an emotion, be it in a positive or negative way and boy oh boy, one way or another this track will get a reaction.

      One last thing, up until the moment of burning I was undecided whether to keep it or remove it, even I on listening to the comp a few times would find that on occasions I would skip it as I found it hard work yet on other occasions I would be in the right place and hear the wonder that it is. As I say I nearly left it off, but if I had you’d still have got a Peter Hammill vocal as the original choice for this slot was a solo effort of his which admittedly is a heck of a lot more accessible. But would it have been as much fun would it?

      4) Lifeforms – The Future Sound of London – Lifeforms 2012

      A bargain buy, bought for a pound in a cafe in Dalyan, Turkey.

      5) Something Coming – Oscar Peterson Trio – New York, New York: Leonard Bernstein on Broadway 2004

      Not a great jazz fan, but I like this track. It could have been worse there is also a version of this song on the parent album that is sung by Michael Ball. Who knows if I’d put the Ball version on you may have ‘enjoyed’ the VDGG track more……

      6) Mary – Emmy The Great – April 2020
      Emmy says: “Mary is named for a Hong Kong fortune teller I met in Kowloon, who gave me the wrong fortune when I mixed up my Cantonese words.

      You never can tell. Id have put money on this track being the best received song on the compilation, simply because to my ears it’s the most ‘Afterword friendly sound’ track included. Yes I know such presumptions always end in tears. I heard this song on Liz Kershaws show, thought it was wonderful, ordered the (then) forthcoming CD found the track isn’t very representative of the rest of the album, but that turned out OK as it’s a cracking album.

      7) The Veilkovsky 2 Step (The Wooden Birds laugh at the Theory of Uniformitarianism) – David Thomas and the Wooden Birds – Blame The Messenger 1987
      “Here come the dinosaurs
      Here come the…
      Whoops!
      They’re gone.”

      Mrs B has 3 things she will not allow to play when she is in earshot, Tom Waits, the Japan Noise of Death compilation and this fella, David Thomas of Pere Ubu fame. I know a lot of his work is hard to listen to and he can push the boundaries, but with this track I genuinely thought it would be received well by you my dear compilation buddies. I hear a delightful, quirky pop song, it reminds me of something David Byrne would produce…. I imagined it getting a universal thumbs up…. seems I need my ears testing!

      8) The Forecaster – Mark Northfield – Alternations 2012
      MN says.. ”singing about the poetic beauty of a slightly bizarre imaginary weather forecast which mixes the commonplace with the fanciful”

      An “Atmospheric Art Song Of Sublime Grandeur” is how the song writer Mark Northfield describes it, taken from his album ‘Alterations’ which consists of five ‘almost-pop’ songs transformed into five ‘almost-classical’ ones via the cunning redeployment of musical riffs and themes”. Hmmmmmm.

      Another bargain buy, picked up for a £1 in Vinyl Exchange in Mancunia, again it’s part of the Utah ethos of messing, just trying to offer something unexpected and different. If I’d heard this as a stand alone track would it have made me search out more by the artist? No. Would I have enjoyed it as a stand alone track. Yes.

      9) Prophets of Rage – Public Enemy It Will Take A Nation of Millions 1988

      Included because of the theme and to add a further genre of music to the mix as variety is the spice of life.

      10) Must I Evolve – Jarv Is… – Beyond The Pale 2020
      “It hasn’t really got a dénouement, which is kind of good, Evolution never stops, does it?” says Mr Cocker

      I originally wanted some thing from the Room 29 album JC did with Chilly Gonzales but couldn’t find a track to fit in with the theme, but this track is no mean substitute. The album is a cracker as well.

      11) Tomorrow – Working Men’s Club- Working Mens Club 2020

      This lot wear their influences on their sleeve, remove the vocal and this could be a Depeche Mode instrumental.

      12 Things The Grandchildren Should Know – Eels Blinking Lights and Other Revelations – 2005
      The future is built upon the past.

      13) The Skelmanthorpe Flag Song – Commoners Choir United Kingdom 2020
      The Skelmanthorpe Flag is one of the most impressive survivors from the early days of organised labour. It was made in Skelmanthorpe near Huddersfield in 1819 to honour the victims of the Peterloo Massacre. This song looks forward to a utopian future.

      The Skelmanthorpe flag was originally planned to be the opening track but when Came/Magic demanded an inclusion I moved it down to the penultimate track, listening to a run though it didn’t sit just right, so I popped it after Grandchildren and I think it works rather nicely as a encore.

      Fom the Guardian – On a boozy summer evening two years ago, a friend told me about a choir she’d recently joined run by a bloke called Boff who was a guitarist in Chumbawamba.
      The idea behind the Commoners Choir, she said, was a radical choir melding political singing with political activism: “You should come along. They’re looking for more people and I’m sure you’d love it.”

      • Cheers, B! Just happened to be checking my emails when the Afterword notification of your post arrived. 🙂

        Observations on reading the explanations: I have no problem whatsoever with multiple tracks by the same artist in a mix – the bookends to your mix (ignoring track 13) worked rEELy well. I’ll get my coat… I shall be seeking out that ABC album post haste and have a good feeling about it! So – Emmy the Great was it? I have her and Tim Wheeler’s Christmas album but nothing else. I think I gave it short shrift as I generally dislike songs where the lyric talks about someone the songwriter knows but who means zero to me. Clearly Mark Northfield is humble to a fault in describing his own work, which only makes me dislike the song even more! You certainly succeeded in challenging the listener and ‘getting a reaction’ to some of the mix content. As always – it was great fun no matter what – so thanks for taking part in such good sport! 🙂

      • Thanks, @Bogart, a few names there that were familiar but never before investigated. So that’s Van Der Graaff Generator…and for some reason I always imagined that Eels dabbled in electronica, don’t know what gave me that idea!
        I almost guessed Oscar Peterson, but chickened out. Still happy that I managed to decipher what the tune hidden in there was!
        I would definitely have guessed Public Enemy if the track had been undamaged, but I wouldn’t have been able to tell Jarvis Cocker’s voice apart from anyone else’s, neither did I have a chance in hell at guessing whatsisname (Fry?) from ABC (and I’m in the AW minority who thinks that Lexicon of Love has two good songs, and they were released as singles, so no need to buy the album) being the voice of track two – and shockingly I really liked it!
        It seems like all of the Afterword are fans of FSOL, judging by this swap! And judging by the sound of them, I may have to investigate further…possibly also Working Men’s Club.
        So it certainly wasn’t all bad, @Bogart! 😉 And I agree with your philosophy on how to choose tracks for a compilation like these, no point in making a greatest hits by all our favourite AW artists, you need some spice to shake things up! So I enjoyed it even when I didn’t…if you know what I mean.
        Great swap, guys, thanks a lot to both of you!

    • Nigel T’s CD arrived this morning…

      …Despite only 1 listen so far – there will be more – thought I’d provide initial thoughts, even if only to have them “set down on paper”:

      The Tracks
      ————-

      01 a familiar theme segues into a familir refrain, and then into Lordy knows what!

      02 ah, yes – something we all hope, even if this was said (sung) at the beginning of this century

      03 very phased vocals, something about “crossing the cosmos”. No idea who/what

      04 Moonlight Sonata – what’s that got to do with anything? Oh, now know the band, not familiar with this song, though I should be..

      05 unmistakable vocals, but unfamiliar with the song, so assume outside “normal group” confines

      06 nearly put in a female cover version of this. Enjoyed

      07 neatly into another cover, man doing a women’s one (sic)

      08 like this one!

      09 the refrain from 01 again, into a mighty fine purveyor of new alt.country/Americana(?)

      10 the theme from 01 yet again, into an unknown song that I first thought was going to be a version of “may the road rise with you”. But isn’t

      11 very good!

      12 a very recent 2020 song. Not forgetting the added bonus of finishing with the noised first heard at the beginning. Coming full circle?

      Overall Feel
      —————

      – I enjoyed the way it hangs together as a whole, which negates the need to get excited about hearing each individual song

      – it seems to me that we may be on some kind of journey, travelling through time and space, if you will

      – there appears to be a theme relating to love and hope. But that may just be me, of course!

      I will return again…probably over the weekend next. Although I said the individual tracks were of less import than the overall sound and feel, I am intrigued to learn of the ones I don’t know.

      Oh, and how does Nigel do the segues within tracks? Sophisticated!

      • Glad you like the format! The segues were done using Audacity to edit the audio (I use that to save the tracks without any metadata anyway) – it’s a little trick I perfected when I put together some ‘live’ albums consisting of solo Beatles live performances: you select a section at the end of one track and paste it underneath the beginning of the next track on a new stereo track and fade it out. You then cut the section from track one and save the remaining audio….you then do the same for the next track and so on. You then burn the CD ‘gapless’ – I find you need to burn at a slow speed to get true gapless playback.

            • Sorry, guys, hang on in there, my dying Mac: it’s full to bursting, basically, is causing burn issues. Am dropboxing to the wife and should get on top of it tomorrow.

              • Late to the party, her’e my take on the Future seen thru’ a NigelT.
                So we’re in with a flourish of Tardis travel noise and a burst of Steve Miller’s Back to the Future, but, no, not the first track, merely setting the dials for the heart of, well, somewhere.
                1. A bit of ambient noodle that then fills out with african talking drums. Then back again. No vocals or lyrics to point any clue. I will either love it, if I like the artist, or not if I don’t. If context is all, I couldn’t find it.

                2. Now this is weird, with a host of different singers, each ill matched, all pitching in on some primitive analogue electronica. I’ll bet it is on the Mute records label, such is the whiff of Daniel Miller, but who are all the singers. For a second I thought the first was Arthur Brown, with then, the second singer betraying a slip of accent that had me thinking of, of all people, Pete Shelley. Did I read he did some solo synthesiser stuff?

                3. I know Nigel is a big fan of Beatles band and stuff sounding similar. This sounds such, if designed, possibly last century, to sound futuristic. A guess then, World Party (and not of their best.)

                4. I know this, putting a later rendition of the same on mine. It is, a tisket a tasket, the Shangri Las. Very progressive for the early 60s.

                5. It not being Squeeze, so it must be Crowded House, tho’ I don’t know it. Lovely guitar progression as the basis of the song.

                6. This I too know, always thinking it Rufus, then recalling it is his nothing more than good friend, Teddy Thompson, doing the Lenny number about his hobbies. If a better arrangement than the original, that isn’t saying much. Not the song to make you want a slew of his records, as I have.

                7.Having been to the same Cropredy as Nigel, even if we failed to manage a mingle, I would be shot for not recognising Simon sings Sandy, on WKWTTG.

                8.More Beatle, with, I think, George, here joined by his fellow Travelling Wilbury’s, all underpinned by some trademark clumsy Jeff Lynne production.

                9. Nice geetar picking’ and, wait a minute, do I recognise that voice? Is it the late, great besainted John of Prime? I do think it may be. In true AW style, I am not a huge fan, having only 5 or 6 or his, and this isn’t, I don’t think, on any of them.

                10. Tasty slide ahead of, yes, surely too I recognise that voice too, that of another head John, if known better by his initials. I’m again guessing but the choogle sounds very of the JJ Cale stable.

                11. This feels suspiciously like another song unknown by a singer very well known. After the last few guesses, this can’t be Brooooce, but it sounds like him and the construct is fairly standard Springsteen. Not, however, the E Street Band.

                12. Ooo, finally a bit of mellotronic bombast. Offering ‘Hope for the Future” it feels as if the future then offered is long since past. Is it the Moody Blues? With the flute and moustache man singing, as it sounds different from the usual Hair by Justin style. Not my proverbial, in truth.

                Needing 10 to be guesses, either Nigel is far too kind or is fiendishly malevolent, feeding all these songs that sound so like the works of others. I could be made to look a fool, so no change there.

      • I too wanted to capture my very first notes from my very first listen to the disc that @moseleymoles sent to me, so that I could adjust and elaborate upon them following subsequent listens. In a revolutionary breakthrough, I actually wrote them down on paper.

    • Here’s my review of @Biggles CD.

      The cover features a lonely looking mannequin figure looking out through a telescope….into the Future I expect!

      I thought there was some ignoring of the rules at first as there are 14 tracks, but the first and last are fairly brief bookends to the set. Overall, the selection is fairly varied which is always nice. I actually found I knew and own some tracks, which is unusual for these swaps!
      1. The intro track is very short – it has a futuristic (hah!) spacey sound to it. Could be a film soundtrack..? Pleasant enough.
      2. The spacey feel continues – I guess you would call this is an electronica track….again pleasant and calming in an ambient sort of way. I don’t find it that engaging to be honest, but it’s fine.
      3. I know who this is, and I’m pretty sure I have it somewhere as I bought some of their stuff when they were getting a lot of attention. The lead singer’s voice is incredibly irritating at times, which is probably why it’s been years since I played it! It’s an OK track on its own though.
      4. A reggaeish type rhythm, but with a modern production. I don’t care for this really and it goes nowhere. Repeated plays haven’t helped, so the first real no-no here.
      5. I know who this is from the voice, but I don’t know the track. Clever, smart, lyrics as you would expect. Over repeated plays I have grown to like it, but it goes on a bit.
      6. Again, I know this and have it at home. I always liked this – a good track from his early solo stuff. I am a fan, so obviously this goes down well.
      7. Instrumental opening which I at first thought was going to be the track, but a rather bored sounding vocal eventually arrives. I don’t think he’s in tune, but Mrs. T said she liked it, so what do I know? Not really for me this – very mournful and a bit depressing if truth be told. Nice instrumental touches….but that voice! having said all that, it has improved with repeated listens.
      8. Sea like sound effects eventually leads into a rhythm track that goes on and on….then a mumbled, distant, indistinct male vocal about 3 mins in. There is a similar female vocal later on, but this track pretty dull and it is far, far too long at over 9 minutes. I struggle to see the point, but will probably find it is by someone incredibly well regarded. We used to get stoned to stuff like this and think it wonderful! To be clear, it isn’t positively annoying or dreadful, I just feel that life is too short for this.
      9. Another familiarish track (the voice is unmistakable), although I had to check where it was from and found it was a B side. I really, really, liked this artist when he started (and this track is fairly early), but his later work didn’t grab me and now I find I hardly play him at all. This is OK, but certainly not his best work – it was a B side after all.
      10. I have no idea how to describe this….a sort of fast rhythm track and not much else. I guess you might call this club type dance music, but I’m probably making myself look an idiot for even trying to categorise it! To my ears this is dreadful and I actively hate it…and, blimey, it’s long too. It’s the sort of thing that you come across by accident when watching Glasto coverage and there’s a couple of ‘DJs’ behind a computer.
      11. This sounds like an Oasis song sung by someone else. It’s fine, and well played and sung, but the song isn’t really that great. I’m intrigued as to who it is though.
      12. I know this and have it. A great record. Sort of relates to my Britpop thoughts on the previous track!
      13. This is OK, and I’m sure I know who this is. I’m not a fan, but he is a great, if you see what I mean. Again, he has done more notable work, but perfectly listenable.
      14. Short, mainly spoken word outro. It could be a film soundtrack once again. Interesting!

      So, overall, the set only has three tracks that I actively dislike, but I am notoriously mainstream in my tastes and I tend to like ‘songs’. I own 4 of them, and the remaining 5 are perfectly listenable, even if they haven’t particularly grabbed me by the lapels. Looking forward to the reveal – thanks @Biggles!

      • Thank you for the review @NigelT.

        Sorry you didn’t like Track 9 – I tried to make that the centrepiece of the CD…

        Did you spot any kind of (attempted) flow/logic within the overall “Future” theme?

        • Do you mean track 9..? I didn’t say I didn’t like it, just not one of his best. Perhaps you are referring to 8.

          The theme appears to be that there are a whole load of possible futures, but the last message is that they are all futile as nothing lasts forever, least of all us. I’m probably totally missing the obvious!??

            • And here I am onto the Biggles. I like the cover picture, btw, having failed to comment upon Nigels, both showing a lot more effort than my own.
              14 tracks I see upon insertion, but an intro and outdo, I’ll wager, from the length, with the opener being so Vangelis-sy as to have to be Bladerunner.

              1. Nice first track, a slow synth swathed build over plucked notes, ahead of some beats and electric piano. Jazzier and ‘blacker’ than standard ambient electronica, perhaps the sort of instrumental that could grace a Funkadelic album.

              2. The vocals are so Neil as to possibly not be, but this sounds the sort of stuff he put out when Reprise were suing him. It’s OK.

              3. Intriguing! Vocodered vocals over the sort of anodyne reggae that Ace of Base might produce. Neither punk, if daft, is it Daft Punk?

              4. Brass in the sense of a N’Awlins marching band style, with then some unexpected talking comes in, very much in the mould of LCD Soundsystem’s monologues. But I don’t think this is he. In the future I will have little need for this track, once the reveal is made.

              5. Pitching the changes in this nicely eclectic mix, this is, if I am not mistaken, some mid period Weller in his full Winwood dadrock mode. I’m sure I have this track somewhere.

              6. Pizzicato violin and guitar blend tastefully and I’m liking this, again not expecting the vocals, full of inward-looking northern insularity. Best track so far, and I haven’t a clue. I feel I should know but it, like tomorrow, it didn’t “coom” to me.

              7. Whooshing sounds zip from speaker to speaker and show just how much the sound production on a MacBook has come on for my old one. I am very partial to ethnographic-ambient shuffles like this. I’m guessing FSoL, only because it isn’t, i don’t think, Banco or Bonobo. But wait, what’s this? Singing, guitars, o no, it’s all gone wrong and I want it to stop.

              8. Ha! Who else could this be, my first instinct being Colosseum, fool that I am, tho’, no doubt bits of the original tune may have been, such was the magpie touch of Mr Costello in those days. Love it, got it.

              9. Good ol’ bit of doom doom, with some female talking over the top. Builds and adds over a while and smacks of the Orb, but could equally well be not.

              10. Love this song, but don’t like the group, which had me struggling to place it, thinking first of Semisonic (who I do like.) Then the wife came in and said I didn’t think you liked them, and I remembered. The drummer who fights Foo.

              11. Blimey, not heard this for a time, I too having a prejudice against the Parklife hitmakers. A better song than my mind tells me and I may have to give the disc it comes from a spin.

              12. Another jazz-funk originating song, and this to could be Funkadelic. Or George Duke, or Billy Preston, or lord knows who. Fainites, but it’s pleasant enough.

              Outro some old codger making a deathbed speech over moody synths. Is it the speech at the end of Bladerunner 2049 as it sounds it should be.

              Phew. How’d I do? A difficult selection but a little more by bag than the other selection. Thank you.

                  • your wish is my command!

                    (intro)
                    01: William Orbit – Crimes Of The Future
                    02: The Flaming Lips – We Can’t Predict The Future
                    03: Madonna (ft Quavo) – Future (Emanuel Reggae Remix)
                    04: David Byrne – In The Future
                    05: Paul Weller – Into Tomorrow
                    06: The Durutti Column – Tomorrow
                    07: Can – Future Days
                    08: Elvis Costello & The Attractions – Wednesday Week
                    09: Underworld – Two Months Off
                    10: Foo Fighters – Next Year
                    11: Blur – The Universal
                    12: Prince – The Future
                    (outro)

                    • Hmm, kicking myself for not going where my instinct was for 4. I was going to say Talking Heads but didn’t think they’d be daft enough to reprise the talking vocal of Once in a Lifetime. Which clearly, if later, Byrne did.

                    • …Should have also stated that:

                      – (intro) is some early-doors effects/music from Blade Runner 2049

                      – (outro) is the “Tears In Rain” monologue delivered by Roy Batty (played by Rutger Hauer) towards the end of the original Blade Runner fillum

                      I tried – and seemingly failed! – to have a “moving through time” sub-theme within the 12 tracks:

                      – looking to the future-(into) tomorrow-days ahead-next week-months away-next year-“it’s the next century”…

    • @NigelT has kindly provided the following sleeve notes:

      1. Future Primitive – Santana. Frankly included mostly because of the title, but I think it works well as an intro. Very free form, it isn’t really my usual thing, but it has the advantage of being quite focussed ….and shortish. I precede the track with some Tardis sound effects and a couple of lines from the start of Fly Like An Eagle by Steve Miller, both of which seemed appropriate. I use these (sparingly) again elsewhere.

      2. A Better Future (Remix by Air) – David Bowie. I love the Heathen album, and this is a remix included on the bonus disc. I actually probably prefer the album mix if I’m honest, but this has rarity value and may be more unfamiliar.

      3. Future History and the Irrelevance of Time – The Sunshine Fix. This was on a Mojo disc and I always liked it, and the title obviously fits.

      4. Past, Present and Future – The Shangri Las. I couldn’t resist. Hopefully this will come as an amusing inclusion, but it is a wonderful record anyway. I hadn’t heard it for ages, but can’t stop playing it now at home.

      5. Won’t Give In – The Finn Brothers. Another favourite, and I love the hopeful and positive lyric as well as the melody.

      6. The Future – Teddy Thompson. Ted sings Len – it was a toss up as to which version I included, but I suspect this is less well known so went for this one.

      7. Who Knows Where The Time Goes (Live) – Fairport Convention. This was recorded at Cropredy in 2017 and I was there. I really like Simon Nicol’s vocals, and Chris Wile provides the female voice. Of course the original is peerless with Sandy, but this runs it close.

      8. I’m Gonna Make You Love Me – the Jayhawks. Just a great song, with a helluva hook and great harmonies.

      9. If It Takes A Lifetime – Jason Isbell. A recent discovery thanks to Robert Plant on Later.

      10. May The Road (Treat You Kind) – Sam Green. Sam is a local musician and I just think he is terrific. He had a band called the Midnight Heist, and this was recorded after the break up of that line up. Check him out.

      11. Hope For The Future – Paul McCartney. This song shows great promise – he could go far….as could…

      12. I’ll See You In My Dreams – Bruce Springsteen. The new album is a belter – one of his best. If you don’t know it, it mostly about the passage of time. He is just 6 months older than me, so this resonates, and this is his, and my, album closer.

    • The review is in for @retropath2

      TItled Futurepedia….

      1. Nice gentle opening….double bass and harp (?), I’m guessing. Gradually builds into a semi-classical piece. A mix of East and Western styles – really liked this. Will explore further on reveal.

      2. I know this and have it ….from their wilderness years. It’s fine – typical of this period when they were trying different stuff out, I suppose. Perfectly OK.

      3. I don’t really take to the vocals on this, and it’s a bit annoying to be honest. Repeated plays haven’t helped. Not for me, and I obviously don’t know who it is!

      4. Sounds like a 70s groove – a lot like Curtis Mayfield but I don’t think it is him. Not really my sort of music, and again the vocals are in a very high falsetto which can be wearing, but it is interesting. Has grown on me, but it is a bit long!

      5. Liked this a lot, but I have no idea who it is. A bit Arcade Fire, who I like, so I’m very intrigued. The Exmouth jury says a hit.

      6. This is fairly awful to me….repetitive and how many BPM is this..?? No, I really do not like this sort of thing. It does go a little bit more electronica later on, which is much more interesting. An odd track, but a thumbs down I’m afraid.

      7. This is very 70s prog rock, but I don’t recognise it. Sub Pink Floyd and Genesis, it could be Barclay James Harvest ….there were so many bands producing this sort of stuff back in the day. Could possibly be foreign from the vocals, which are a bit Focus. I really went off this sort of thing ages ago. Sorry!

      8. Electronica style opening, builds through a guitar figure and into ethereal vocals. Quite like this, but no idea who it is. Interesting to discover who it is.

      9. This is bit more like it….jangly power pop riffage. A bit Cast like, this is really good. Will explore.

      10. Pleasant enough, this has grown on me. A rather fay male vocal….but the middle eight is a bit strange where the tempo changes. Again, I have no idea who this is.

      11. Ha ha! Another version of a song I included, which is very strange! I don’t know who this , but it is a very world weary older singer, rather than the young girl group. Great. I should probably know who this is.

      12. A rather jazzy track with a female vocal. The sort of singer who turns up on Jools and I will listen to and instantly forget. Perfectly OK, but doesn’t grab me.

      So- a pretty high hit rate! Some artists I will definitely look into!! Thanks!!

        • @retropath – apologies for my tardiness, but now have been able to give “Futurepedia” a proper listen.

          Overall – with the exception of the “bangin’ choon” in the middle – a very nice feel and flow.

          Specifically:

          01 lovely start. Kora and harp? Therefore Seckou Keita and Catrin Finch? Oh, but there is bass. That’s thrown me a bit…

          02 Like this. Recently purchased the ’69-’74 albums set. Mr Welch era.

          03 Don’t particular dislike this, but the vocals appear to be in too high on the register for these old ears to decipher!

          04 Futureshock. On my list of potential tracks. Certainly deserves to be here.

          05 “You can steal what you love, but you can’t love what you steal”. Feel I should know who this is, but don’t. Intrigued to find out more, as this is a very good one.

          06 No idea who/what/why. Interested to know, but this is a “skip” for me.

          07 Another fine and mellow intro., of over a minute, instrumentally a little Stormbringer-era Deep Purple, and vocally a bit Yes, BJH, but can’t place it. As I am “only” 57, assuming it is an early 70s prog. tune that I am not familiar with?

          08 At first, this has a very Massive Attack vibe. Ah – of course!

          09 Another Futureshock! Love his cover version albums with Susanna Hoffs. Voice remains distinctive here, but/and would like to here more of the album from whence this came.

          10 Very good track. Saw him live a few years ago “doing” David Gilmour.

          11 Another intriguing one. Must be (shirley?) a different artist to the Shangri-Las in Nigel’s CD – Marianne Faithfull?

          12 No idea, I’m afraid. If it appeared as (say) track 5 or 7, then it would be another skip, but perfectly fine at the end.

          Now that I have reviewed – at last! – please could we have full track details for further investigation.

          Many thanks!

          • Here we go, @biggles and @nigelt
            1.Future by Ballaké Sissoko & Vincent Segal/Chamber Music : so yes, kora for one instrument, but it is with cello. I actually prefer this to the kora/harp duets.

            2. Future Games by Fleetwood Mac/Future Games : Disappointed this was so easy for you. Very unMac compared to early and later styles.

            3. Future People by the Alabama Shakes/Sound & Color : For a time they were top of every list of best of year, and I fell for it. Aged badly and the mix is shocking.

            4. Future Shock by Herbie Hancock/Future Shock Jazz : Jazz fusion was bonkers, wasn’t it. The vocals, WTF?

            5. Future Works by Idlewild/Make Another World : Roddy Woomble had had a brief solo career between iteration of this band, this being less instant than their earlier, but an interesting arrangement in the 2nd half.

            6. Forbidden Fruit (Forbidden Future Mix) by Paul Van Dyk/Euphoria – Deeper : Must be me then, I love these old bangers.

            7. Olde Tyme Future by Fruupp/Future Legends: Camel a very good guess.

            8. Future Proof by Massive Attack/100th Window: Yup, pretty unmistakeable.

            9. Future Shock by Matthew Sweet/In Reverse : Mr Powerpop himself.

            10. Future Vision by Jonathan Wilson/Fanfare : Overhyped and over here….

            11. Future Echoes by Zara McFarlane/Songs Of an Unknown Tongue: Not like her earlier and I am still not quite sure, but she doesn’t half sound like Ella

            12. Past Present and Future by Marianne Faithfull/Single And I hadn’t heard the Shangri-Las before this either!

            Method: Type “Future” into i-tunes library search…..

    • sorry i’m not going to be able to do this. i haven’t got round to it yet and now covid is rampaging through the mental hospital where i work so i’m stressed beyond belief and have neither the time or energy to get this together. my apologies.

      • Thanks for your kind offer. I’ll take you up on it. CDs will go in tomorrow’s post from Ireland (obviously). I’ve sent you a message with my address.

    • I might as well start the ball rolling by reviewing @Twang s collection Visions of the Future. I’ve lived with it for a few weeks now and given it the full kitchen stereo/car stereo/work stereo/ Den stereo range of environments so I feel I know it now. There’s only one regular skip but the rest has survived my ruthless “there’s x minutes of my life I’ll never get back”, test. Before I get into the tracks themselves, I have to say this is probably the best sounding/mixed collection I’ve ever received. The transitions are magnificent and Track 2 for example sounds better than my ancient CD copy ever has. Please share the software/method so I can improve my primitive long-listing to minidisc and burning to CD burner method.

      (1) I don’t know who this is. It sounds like someone who has listened to a lot of On-U Sound artists with a nod towards the Young Gods but it’s too tongue in cheek to be close to either. Lyrically it sounded like a 2000AD comic soundtrack. I’m baffled but entertained.
      (2) This track occurred to me as an option but I immediately discarded it as pure Afterword canon and therefore unlikely to be a new listening experience to 99.9% of Afterworders. It’s a great track of course and is old enough to generate nostalgia for a track that was essentially about nostalgia.
      (3) This was my skipper. I remember first hearing this track as a child and my sci-fi fan ears pricking up at the opening 30 seconds and the whole idea of it. By the end of it I was praying for the end of life on this planet as we know it. Again, it occurred to me as a possibility for my own compilation but this would have required listening to it. Give me Eighth Day by Hazel O’Connor or that Flight of the Conchords robot song as a better take on this concept.
      (4) This is my absolute favourite track in this compilation. Where has it been all my life? This is a beautiful laid back soul track, probably early seventies – post What’s Going On – definitely. The lead vocalist has a definite Mick Hucknall flavour but obviously years before him. I’d guess that it’s either the Isleys or the Spinners (not the “in my Liverpool Home”, Spinners. Remember them?) This is a keeper and I’ll be digging deeper into whichever band it turns out to be…
      (5) …followed by an old school blues track with prominent piano, guitar and harmonica and a familiar voice. Hard to know who gets top billing. Aged 19 or 20 I’d have known who this was as I used to play tin whistle along with blues records. I’ll go for someone like Sonny Boy Williamson. I really like this and have been playing it “at”, my very young children.
      (6) This is a tune I know. Could it be the Shadows? It’s not quite their style. Did they use baritone guitars? If I was called Twang, it would probably be compulsory to include a track like this. It’s quite lovely. New light through an old window as Chris Rea might have described it.
      (7) Now we have some “Good ole boy”, country music. This seems genuine rather than ironic so I’m ruling out Loudon Wainwright. There’s a hint of Kristofferson but I don’t think it’s him. Very enjoyable for someone whose gateway into country was the Hank Wangford Band. I could well imagine them doing a version of this.
      (8) Ethereal guitar with a very Daniel Lanois vibe starts this. Initially I thought this was very like some Cat Power stuff I’d heard but I think I recognise the vocalist as proper country royalty of a 70s vintage. This is post-U2 country but a very interesting take on it. I Iiked it.
      (9) We’re into proper jazz now, a land I’m not overly familiar with. I didn’t skip this one but it didn’t particularly grow on me either. I deleted a Herbie Hancock track from my long list because it didn’t work with the other tracks (as if the one’s I decided on do!). Even after repeated listens I don’t think this lodged in my brain enough for me to be able to recognise it if I ever heard it again.
      (10) The title of this is fairly obvious and I think the artist gives his name away at some point. It’s a piece of sample-friendly proto-funk that’s played for laughs and hams up the stereotypes. It’s fun as a snapshot of broad entertainment. It reminds me of Swamp Dogg’s output. Enjoyable.
      (11) This opens with a vocal version of the theme to Mighty Mouse (if I’m not mistaken) and the artist is clearly identifiable. I shared a bedroom with my brother who was a big fan of this wonderful innovator but I don’t recognise it. Having said that, I really like it. I presume it’s from later in his truncated career. I’ve always assumed that he’d have joined George Clinton on the Mothership had he survived.
      (12) Frankly I’d be disappointed if I received an Afterword CD that didn’t have me considering whether this was one of the Canterbury acts from that folk rock world of which I know very little. My only point of reference here would be Jethro Tull. Is it them? Maybe not enough one-legged flute. A friend of mine who died earlier this year flew from Ireland to see them years ago when I lived in London. He made me go to see them with him. This is okay but won’t send me off ordering box-sets.

      Overall this was a very enjoyable collection. It certainly covered more musical bases than mine and was a top quality recording. There are a few tracks that will send me towards the back catalogues of the artists and that’s ultimately the value of these exchanges. Thanks very much @Twang for making the effort and being the soundtrack to my Covid November.

      • Cheers Bamb glad you enjoyed it. It was comped and remastered in Twang Studios which is probably why it sounds like that. Well, I’m glad it sounds decent anyway!

        I chose to interpret the theme as either about the future or the sound of the future. IMHO, OOAA etc.

        • @Bamber and @Twang –

          I am yet to give Bamber’s disc a spin, but am looking forward greatly to doing so next week. Twang’s has had a few spins now (and I know most of them on there!).

          I’m not sure if mine has arrived at your gaff @Bamber – do you have it now?

          I’ve written out my tracklisting, for posting in my other group up the page a way, but I’ll give you a chance to have a listen/skip/guffaw before I do so. Let me know when the coast is clear.

          @stan-deely I hope your stress levels are easing off by now.

          • Hi @VulpesVulpes. I should have given you the nod to share your details with the other group of swappers. I’ll make a point of only looking at this end of the thread until I’ve posted my review of your collection. I recognise a few artists but there’s been a considerable amount of headscratching.

    • “This is the future” – compiled by @Bamber. Delayed review as the Post Office held onto it for ages before deigning to drop it through the letter box, plus work has been insanely busy.

      1. Ho ho. A gruff Scottish comedian kicks us off. Amusing.
      2. Hmmm, I know the track but not the version. Lots of swoosh synths and a good rhythm section. I might remember tomorrow, you never know.
      3. Don’t know this one either. Big pop – high vocals, strings, elaborate production. Not unpleasant at all but this stuff doesn’t do much for me either TBH.
      4. Mmm this starts better. Acoustic guitar. But oh dear – what’s this….out of tune harmony singing. Well. not badly out, but always a few microtones away from it so I feel stressed. A bit like a primary school choir. That’s odd, bursts of nice Bill Nelsoney lead guitar. Could have been really good with better performances.
      5. This is better. Big bluesy jazzy horns and a great female vocal. This girl can sing. Don’t know who it is but I want to hear more. That comping Hammond is lush.
      6. Ahh now this is my thing. Acoustic bluegrass with extra blue led by nippy fiddle and mandolin. Sounds like Dylan but I don’t think it is – he’s making too much effort to sing. Excellent.
      7. OK, hushed / whispered female vocal over finger picked guitar and fiddle with touches of piano. Must be called Safe Travel going by the chorus. Nice but I’m not mad about the vocal – sing up!
      8. Ahhh rawk. Don’t know this but I needed it. Sounds punky. Detroit? Actually this is not bad at all, the song evolves and they’ve obviously made the effort to write something rather than just a 3 chord trick. Obligatory Bowie wobble in the vocal so I’m guessing late 70s. Not bad at all. Goes on too long though. The riff is a variant on the “Walking the dog” riff, nothing wrong there, but enough is enough.
      9. Ah this sounds like New Wave a la Elvis Costello, but I don’t think it is him. Decent chorus. Pretty generic sound though. Is it called Independence Day?
      10. Very power pop – kind of sub Squeeze. Not bad but not my thang.
      11. That can only be The Saw Doctors and it’s brilliant. Did they ever do anything which doesn’t make you want to drink cider and jump about? Love it.
      12. Oh no what’s this. More out of tune singing. Skip.
      13. Ahh. Dawes. I love this.

      All in all an interesting listen, falling into what looks like the norm of 30/30/30 like/meh/don’t like judging by the other review here.

      Thanks @bamber I enjoyed it.

    • Time for a long overdue review of @VulpesVulpes The Future, a beautifully packaged collection with explanatory sleevenotes on the back and a charming Eagle-era retro-futuristic cover. Let’s get on with the marks from the Kildare jury…

      1 We’re straight in with a leap “back into the future”. This starts with a plodding but proggy bassline over which a keyboard player noodles all over the shop with an early sounding synth-harpsichord/spinet. I’m a stranger in a strange land here. My only previous visits to 1970s Prog-folk land have been courtesy of CDs received in these swaps. My extensive notes feature the words “dreadful singing”. I’ve given it another listen before condemning it. I stand by my earlier verdict. This track’s greatest attribute is its relative brevity.

      2 This seems more familiar and I’ll assume it’s FSOL. Music like this was the soundtrack to many evenings in the pubs and clubs of London or Barcelona in my younger days. It’s bright and breezy, goodtime dancebeats with lovely bassy vibes, not quite chill but not dancefloor either. I really liked this largely due to the happy memories it revived.

      3 This started off well with strong female vocals over a sparse acoustic guitar background. My early thoughts were that it might be Imelda May or Eddi Reader, two singers I really like. A few verses in as the vocals became more dramatic and theatrical, it had me thinking this was an American vocalist, possibly late Ronstadt? I liked it but a bit more subtlety or restraint would have been welcome.

      4 This is a slice of late 80s/early 90s? hip-hop that occupies the sparsely populated socially aware end of the rap spectrum. The Latin (or is it African?) sample works very well and I really enjoyed this. It doesn’t sound Franti enough to be the Disposables so I’m at a loss as to who this might be. I’ll investigate further whoever it is.

      5 This is the track that will stay with me long after I’ve lost the CD, for many reasons. The first time I played it, I had to check that I was still on the same track as it involves four or five distinct movements. Let’s get the pedantic bit out of the way – surely it should be “we are the eyes…” Leaving that to one side, this is an epic that is completely parody proof although the only track it reminded me of was “the Prince of Parties”, by Flight of the Conchords. Production would suggest circa 1980 but I’m sure it still gets an outing at folk festivals to this day. My favourite bit was the 12 string guitar workout in the middle that manages to reference Stayin’ Alive. I can imagine the backing band wandering off for a wee/joint/to read a book when they reach that point of the song. In spite of all these things, I found this hugely entertaining and would never have heard it through another channel. My first thought was Cat Stevens but I’m more inclined to go for another cat-related performer AS.

      6 There’s a false start then a bass groove that reminds me of a Donovan song. Lyrically we’re in 70’s musical theatre territory (if there was a Wicker Man musical) but the production sounds of this century (possibly). It reminds me a little of This is the Kit but I don’t think it’s her/them. This one grew on me with repeated plays mostly thanks to the bass playing. I bought a short scale bass recently so I’m tuning in more to bass playing. I’ll be interested to see who this is.

      7 We’re back in 70s sounding folk territory here and I have no map or compass. Danny Thompson-ish bass underpins an earnest male vocal. Production wise it sounds more modern and it has a late-night vibe that I quite enjoy as a soundtrack to my evening of domestic chores. This is another who I will delve into further.

      8 My notes include “white English folkies (probably bearded) trying and failing to play something funky”. There’s a definite 70s vibe to this one too. I was listening to Abba, the Wombles, the Muppets and ELO at the time! Once more I find myself drawn to the bass playing as a redeeming feature that this track needs. The time signature changes and Gabriel/Winwood influenced vocals bring the word Prog into the description. I’m thinking more Lindesfarne than Genesis. Structurally, this is quite like Paranoid Android. Just when you think it’s over, it comes back to torment you. I never skipped it but I can’t say I liked it.

      9 This starts with a short and chirpy slice of instrumental electronica – could it be Krautrock? (Lloyd Cole does this sort of thing these days – really!) The second movement is more sombre. I like a bit of ambient electronica but this didn’t really register – as is often the nature of the beast. Mostly Harmless.

      10 There’s no mistaking the great RLJ here. This is not a track that I recognise but I really enjoyed it. This would get into my top ten of her tunes. The bassline, guitar and vocal are ample for this track. The Steely Dan like over-production on some of her stuff can be off-putting. I really liked this one. I’ll dig out whatever album this is from.

      11 The saxophone intro and beat is almost Fela Kuti like but when the vocals come in, this is definitely an American sound from the last 30 years. The only band whose profile this fits is Morphine but I’m not sure it’s them. It’s got quite a bluesy feel and I like it. The chorus has a hint of Shakespeare or Dylan Thomas about it.

      12 My notes for this one have various names written down because I’m convinced that I have this somewhere in my vast collection. Too groovy for Field Music, could it be Air or Phoenix – one of those French bands – or Money Mark, Beastie Boys keyboardist or is it the soundtrack to some movie I’ve seen. This has tormented me because usually I can figure these conundrums out. I like it as an instrumental but not as a self-imposed quiz question.

      13 Also Sprach Zarathustra makes and appearance after the event. The sound of the future in 2001. Can I recommend that you listen to Deodato’s take on this because it is a funky masterpiece?

      Thanks @VulpesVulpes for stepping into the breach/breech?. As @Twang suggested above, this fell into the usual percentages of Loves, Hates and Inbetweeners. I am firmly of the belief that broadening the musical listening of the recipient is the brief for these compilations and you certainly did that. I recognised none of these tracks and probably very few of the artists. Apologies for how long it has taken me to post this. I probably couldn’t sleep tonight if I didn’t get it done this evening. Let fly with your review of my own disc whenever you get the chance. These are crazy times so the fact that people are making the effort to engage in such civilised exchanges is truly a good thing.

      • @Bamber So glad you had fun listening to my choices – at least some of them! I’ve got my notes for your selection right here, but I need to finish it off before posting, as I still haven’t listened properly to the last 3 tracks!

        Hopefully I’ll have that finished and posted tomorrow, and I’ve got a page or so of notes for the @Twang disc here to type up as well. TBH I know most of the tracks on his disc cos we is dullards of a certain age wot listen to the same old crud!

    • @Bamber I’ve really enjoyed your disc – a couple of duffers, but a very high hit rate. And what a final track. God I love that song.

      Here’s my review of your disc ‘The Future Is Now’:

      A brief spoken intro – is that lifted from Trainspotting? – and then we’re off:

      1) Classic track to start us off – one of my favourite performances of all time – at least of Beatles covers! I only left this off my own disc because I’ve shoe-horned it onto an earlier swap CD already. Belter of a kick-off.

      2) Sunny Californian atmos for this one, but I think it’s a lot more recent than the BB sound would at first suggest. No idea really who this is. Quite pleasant in a top-down, coastal-drive sort of vibe. Might be a High Llamas track maybe? Doesn’t really go anywhere, but mellow and harmless all the same.

      3) Nice quirky harmony vocals – American I think – over a strummed acoustic, and there’s a distant Hammond audible throughout. In comes a mellifluous electric as well. This is sort of scruffy and yet lovely, but I don’t know who they are and would like to know. Great stuff.

      4) Big band sound. Sax to the front. Big blousy strong female vocals. Rolls along nicely. Slow and sleazy. Could be a Dana Gillespie number (but it’s not her singing) with a B3 a la Fame (but it’s not him either!). Like this one too.

      5) Bluegrassy country yee-haw. I’ve no idea who this is – ‘cos once the voice comes in it’s obviously not Mr Yoakam, and it’s not Mr Hiatt or Mr Van Zandt or Mr Alvin. Hmmmmm. Like this one and want to know who is responsible. Good fun track.

      6) Bizarre lyric, sung by a whispery female voice, with an interesting, quirky arrangement. Violin, strummed guitar, piano and a horn. Towards the end another voice accompanies her. Exquisite. Who is she? Want more, kind of hoping that she doesn’t always sing in quite as mannered a way as this all the same.

      7) Rifftastic shouty rock next. WUN-TOO-FREE-FAW! Sadly we never get to FIVE. I think this lot must be English despite the faux American vocals. Can’t make out the lyric very well through the soup of distortion and clattering drums. I manage about two and a half minutes before eying the skip button. Ciao Ceaușescu? WTF?

      8) Eighties indie? I don’t know this one either, but it doesn’t really grab me anyway. Makes me think of dancing to barely interesting songs in clubs while hoping for something more imaginative to get played. Echoes of the lesser Duran Duran songs. Next please.

      9) Oh no, more clattery stuff. Maybe one of those Peel artists who inexplicably got recording contracts on the back of one or two half decent singles, but didn’t really have the heft to follow through with much more than filler. There’s what sounds like a skip at 1 minute 31 seconds, suggesting this has either a vinyl source or a very poorly mastered CD! Maybe someone bumped into the deck during a house party while looking for a better tune to spin. So twee it’s horribly saccharine. Not for me ta, just milk.

      10) Oirish nonsense a la Pogues but it’s not them, and I love this, it’s a proper knees up. Is this the marvellous Goats Don’t Shave? If it is it’s not a track of theirs that I recognise. Definitely want to hear more of these rascals. Pass me that bottle, I’ll need lubrication as I fear I may be dancing soon.

      11) Aha. No, not them. I know who this is. I just love this wobbly delivery and the we-never-take-ourselves-seriously schtick. Don’t know the actual record, but it’s indisputably the artist I recognise – a lot of his stuff is much of a muchness, but always great fun all the same. A true maverick. Nice choice.

      12) Someone’s been listening to Hey Jude it seems at first. But it’s better than that, much better than that fleeting impression might suggest. Heartfelt lyric, and great vocal delivery. Gosh, this is a tremendous song. It’s the sort of thing you might have expected to hear somewhere within ‘Almost Famous’. Which is to say, it stands easily with mighty peers in the classic popular music canon. When the band come in, there’s a spine tingling rise to the power of the song; soaring guitars, glorious keys, deft bass and lovely slack drums work marvellously in concert with one another. Lovely, lovely arrangement – simple but perfect – and the song doesn’t outstay its time, leaving you no option but to reach for the repeat button. What a fantastic choice to end with. Awesome.

      So thanks for a great set – I’ll be putting this in the car right away!

      @Twang – you’re next for the musical dissection Sunny Jim – but then you know I love most of yours; I can probably reach the source CD from where I’m sitting!

      • At long last, here is the great reveal. Clearly Back to the Future (1980s) would have been a more honest title than Here is the Future. The stylish cover art was created by sunlight slanting through my blinds onto a vertical radiator in my office as I looked for a suitable image on my computer. I’m sure Peter Saville is worried about the competition. An on with the music…

        (1)Intro – This is a short clip from Gregory’s Girl a film I know pretty much off by heart so I’ll take any opportunity to quote from it. I thought this clip was Afterword friendly.
        (2) TNK (Tomorrow Never Knows) Live – Phil Manzanera I came across this track through the gift of Spotify Discover Weekly before my young children skewed the algorithm towards Dora the Explorer and Dr Seuss. It’s a cracking cover version with magnificent bass playing and Brian Eno on Eno-esque vocals.
        (3) Lonely Days – Future Bible Heroes – I know nothing about this band apart from this track that I heard on late night radio and found in a bargain bin soon afterwards. It reminds me of the Dream Academy more than anyone else.
        (4) Hammond Song – The Roches – Well this elicited very different responses from my correspondents. I can only assume that @Twang is afflicted with the curse of perfect pitch as I adore the harmonies in this wonderful tune. I would have expected it to be recognised as they had a profile of sorts back in the 80s. This track was particularly famous because of the unlikely cameo by Robert Fripp with the beautiful guitar interludes.
        (5) Storm of Light – Working Week – A friend put this track on a compilation for me back in the mid-80s. I haven’t really dug into their back catalogue much but I seem to remember them being a London based collective at the time other bands like the Style Council and Sade were bringing jazz influences to the masses, pre-Acid Jazz. I’ve no idea who the singer is and she clearly has a remarkable voice. I’m not sure she makes the best of it on this track though.
        (6) Shut it Tight – T-Bone Burnett – I first heard this track on the same compilation from a friend mentioned above. It has a real flavour of his subsequent work on the Oh Brother Where Art Thou soundtrack. At the time I was putting this compilation together, Trump was losing the US election and it was looking grim with regard to how things were going to pan out over there. Playing this song a lot at the time, turned into Trump’s signature tune “I ain’t gonna quit until I’m laid in my tomb and even then they’d better shut it tight”.
        (7) Safe Travels, Don’t Die – Lisa Hannigan – Ah, the lovely Lisa, the Amelie of Irish music. I’m a big fan of her stuff, from her contribution to Damian Rice’s O album to her own solo stuff and the multiple collaborations that she seems to appear in online these days. This song reminds me of seeing her in Portland Oregon when she just happened to be playing there as we were doing a long trek through Canada and down to Portland. I nicked a poster and she signed it “safe travels”. Treasure.
        (8) Blues for Ceaucescu – The Fatima Mansions – I threw this in as a bit of a palette cleanser/mood changer with mixed responses obviously. This classic Indie headbanger takes me back to the days of seeing this band in numerous medium sized venues around London in the early 90s. This was always my favourite and has pride of place in an ongoing compilation I keep of angry tunes. I used to play it on my Walkman back in the day if I was heading into any work situation where I had to be fired up. The lyrics are of course daft/angry in equal measure but in the modern world with Fascism on the rise, somewhat topical.
        (9) Independence Day – The Comsat Angels – I’ve loved this tune since back in the day but only recently started to recognise that it’s a crude metaphor for divorce – or is it? It’s hard to find their stuff these days but their first album in particular really stands up well, maybe not with you two.
        (10) Phew Wow – The Farmers Boys – This popped into my head when I saw the topic. There aren’t that many songs about the support of friends to get someone through a heartache. A friend of mine had a different take, regarding this as predatory homosexuals looking to get someone drunk and take advantage. I like its chirpy sub-Housemartins bounce and so 80s Fairlight fiddle. I had it on tape and vinyl but in the “mastering to minidisc”, process, a version I found on Youtube sounded best, apart from the glitch spotted by @VulpesVulpes
        (11) I Useta Lover – The Saw Doctors – I useta hate this band. As a loyal Waterboys fan, I saw the Doctors as debasing the Fisherman’s Blues era music with their jokey “culchie”, nonsense. I am now mature enough to enjoy it for the good time entertainment it provides. Certain cultural references included in this song may require footnotes. I’d be happy to provide these on request.
        (12) Abdul and Cleopatra – Jonathan Richman – I usually manage to crowbar in some of my favourites into these compilations. This time it’s Jonathan. This is one of my favourites of his tracks and that guitar break is as good as any outside his country album. Is there a worse phrase to describe the future than “wherever she’ll be atra”? A dumb but romantic classic but sadly not a successful follow up to the smash hit of Egyptian Reggae.
        (13) All Your Favourite Bands – Dawes – I nearly didn’t include this as I assumed it would be on the playlist of 99% of Afterworders. For @VulpesVulpes sake I’m glad I did now. I’m not sure that any track I’ve shared has ever received such an ecstatic review. Clearly this should be the Afterword Anthem and as a wish for all Afterworders looking to 2021, play this one loud!

    • @Twang @Bamber

      I’m so sorry this took so long to put up here! I’ve been somewhat distracted by a broken left foot (a solid excuse, but not really a justification for such tardiness) and I only just realised my notes were still here on my desk, but not yet uploaded. So, finally, here’s my run-through of Twang’s disc, which I thoroughly enjoyed (apart from the ‘judge’ thing):

      1) Off we go with big Frank. The Jack Russells really DO NOT like this track – the Scrutinizer’s voice gives them the willies. I reckon Priti Patel listens to this every night before she goes to bed; it’s her idea of what a Home Secretary ought to be.

      2) It’s the late fifties, and America is poised to deliver the scientifically driven utopian future that we’ve all enjoyed during our lifetimes. Jet packs don’t get much of a mention, but hey, you can’t have everything. Brilliantly catchy sarcasm from Mr. Fagen.

      3) Aha, yes, THAT song. I would have included this Zager & Evans extravaganza – Exordium & Terminus! – on my disc if I could have found the ‘Best of the Sixties’ compilation I have somewhere, where it rubs shoulders with Barry McGuire’s apocalyptic ‘Eve of Destruction’.

      4) It’s Marvin of course. Others have included this within their compilation, and it’s a wonderful, worthy inclusion. Oooh those horn stabs. They are here, they are exquisite, and then they are gone; you long to hear more but he hasn’t used them a second time. Such class.

      5) Wolf rolls into the room, yells his blues over a honky-tonking pianer, and slays the place. Brilliant choice!

      6) Pow! A widescreen, full color David Lynch version of Telstar, but sadly without any Julee Cruise vocal interlude. This is a great big warm wallowing in the Shads, er, shadow. No idea who it is, but it’s great fun, played by someone who understands economy and space, which is a relief. In general I’m bored sick of shredders, so the simplicity of Hank’s approach, or its reflection here, is most welcome!

      7) Jumping Jehosephat, God how I miss the man Prine. Hard to believe there won’t be any more of his simple humanity coming out as new work in the future.

      8) Unmistakably Emmylou, I think this is from Wrecking Ball? The bass playing is astonishingly great. She has never done a bad album, as far as I can tell. Superb.

      9) Is this Coltrane? Must be a Prestige or Blue note recording, but that’s a huuuuuge church of music, and I don’t know which pew we’re in. Nice. *lights an Embassy, squints, takes a drag between thumb and fore-finger, exhales through teeth and nose*

      10) A comedy record with a funky beat. WTF is this? How old or new? Could be relatively ancient or fairly modern! I’d class this as amusing but inessential – I can’t be doing with all these jokey intrusions I’m afraid. Heard once, amused. Heard twice; er, how long is this track? Hmmmm. Skip.

      11) Jimi flies like no-one else ever could. The band sound like they are almost struggling not to fall a beat behind him all the way, as he zooms across the landscape like a speeded-up sequence from Top Gun.

      12) And we’re out of here on thin ice. How apt for this time. Good finishing track!

      Thanks both, this was fun. Here’s to the next CD Swap!

  9. I olny have the cd from @Mike_H so far and will happily review it below. I have met Mike a couple of times a few years back now and know his leaning towards Jazzier stuff which is shown in the compilation:

    1) The opening track of the compilation is my least favourite. Latin tinged with really nice piano but I really don’t like the choral vocals which for me spoil the music.
    2) I know this track and it very nearly appeared on my own compilation but was replaced at the last minute – dreamy Welsh space rock. Is that enough of a clue? (Not Super Furry Animals).
    3) My favourite track on the compilation – opening dreamy sax over a bossa beat and then great keyboards come in – very melodic. I need to know who this is so that I can investigate further.
    4) Promising Steely Dan like opening quickly dissolves into awful lyrics about a Starship from America. This sounds like a novelty record but doubt that it is. Not for me this one.
    5) I know this one but for the life of me cant recall the artist. An opening James Bond sample segues into a well known Beatles song – quite compelling. Like it.
    6) Piano intro to a quirky song with a higher register female vocal – sounds like could be Victoria Williams or Joanna Newsom. Nice song.
    7) Crooner – someone covering a Frank Sinatra song but it isnt Ol’ Blue eyes. Good version though.
    8) Another song that could be a Sinatra song – sung by a husky female – dont recognise the song but would think this was recorded in the 60’s.
    9) This one has quite an ordinary opening but really develops into a great extended song, great piano and a wonderful voice – no idea who this is – wouldnt have any clue but I like it.
    10) A funky track – Pretty sure I have this in my collection – would hazard a guess at Funkadelic but dont know for sure. Good though.
    11) A cover of a Tom Waits song – I think I know the album it comes off as I was tempted to buy it. I dont want to cheat and look but if the rest of the album is this good I am ordering it. A great female vocal – I would hazard a guess at Linda Thompson but the song is about Chicago which suggests I might just be wrong about this.
    12) Short sharp final song – think I have this one too but if you asked me who it was I would be stabbing in the dark.

    A nice compilation with tracks 3 and 11 being absolute standouts that will bear repeat plays.
    Thank you Mike.

    • actually @Mike_H I have to confess to cheating this am. I was intrigued by track 11 as my guess at Linda Thompson was troubling me. Now I know who it is – thought I was on the right track but it seems I wasn’t but now there are two cd’s I need to investigate.

      • Okey dokey. Here’s my review of your disc @SteveT

        1) Instantly knew who this was. There could be no mistaking it. Nobody else does stirring stuff like this. Not one of theirs I’m familiar with. The combination of sax and fiddle is rarely used and these guys know how to make the combination work. A problem arises, however. It’s really very long and it should have been edited IMO, or else the singer should have got to the point quicker. Seeing this performed in a live setting the length wouldn’t be an issue at all, but it outstays it’s welcome at over 12 minutes as a studio recording.
        2) A very familiar UK hit song (although a fair bit older than even that) from a long time ago, given a reggae makeover. The guitarist knows the hit version, judging by the copied lick. It doesn’t quite work for me but that might be due to a truly dire version I can’t help but remember from early ’80s USA. I expect there are better tracks by this artist.
        3) Sounds like Nils Lofgren but more tuneful. I don’t think it is. A good song well recorded but not really my thing.
        4) I was briefly considering this song, but another version by someone else. A well-written but rather generic (non-religious) salvation song. A strange last verse where he appears to leave the person who once saved him to their fate.
        5) Really dislike this guy’s voice. Peculiar phrasing. A rather maudlin tears in beer song, complete with wailing pedal steel. Nah.
        6) I know this one. It’s very hip to like these but I’m a bit ambivalent. Way ahead of it’s time, this is one of their better tracks. Nobody else was creating rhythms like this back then. Probably best that the singer is so low in the mix because his contribution is the least interesting part.
        7) Sounds like a lot of other stuff from the USA around this time. Well-played and sung. Great male/female harmonies on the chorus. I wish it was something with a bit more life to it. No idea who it is but I have a nagging feeling I should know the song.
        8) From the first note I knew who the guitarist is. From the first syllable I knew who the female singer is. Is this one of his songs that they are singing? I don’t like her voice so much these days but their voices harmonise pretty well. Again, I wish this CD was a bit more uptempo. Superb guitar solo and fills, of course. More than O.K. but sadly not my thing these days.
        9) He’s got a good feeling, but he doesn’t sound much like it. Ropey croaky voice. Nice piano and muted brass band. Someone with a better voice ought to cover this as the song’s pretty good.
        10) Be careful what you wish for. This is an uptempo one but horrible clattery drums, generic indie guitar. Guitar solo is at best semi-skilled. Singer is flat in the first line of every verse. Horrid.
        11) Vintage stuff from the dawn of time. All those dodgy trad jazz bands you got in pubs on Sunday lunchtimes had me sneering at this stuff for years but now I see a real beauty in it. From the days before bass fiddles when all jazz bands had tuba players and banjoists. I know who this is, I think. Beautiful clarinet and trumpet. The song is a golden standard of the repertoire. Perfect palate cleanser.
        12) Pretty instantly recognisable, this last one, even though I’m not familiar with this particular song or album. A stunning hook-filled blend of Byrds jangle, Revolver-era Beatles and some more recent psychedelia touches. They make it seem completely effortless. Clear, clean production and smooth as silk. It rocks like a motherfucker. This is the standout track. A perfect closer.

        Cheers Steve.

    • @Steve T

      So, there is a game I play when I am totally alone, without any Internet or phone or tv-set, I play chess against myself, this is how it goes:
      One of the players think and acts quick, the other takes wayyy too much time than what is allowed and both won’t let the other win.

      This is what I am doing right now, with your review, playing every tracks on my computer, being forced to see their title, one after the other but trying to behave like I saw nothing, so here it is!

      01 I recognize the violin an the voice as I played one album of this group several times after a girl left me (she listened a lot to A girl called johnny) so that’s the Waterboys, even without the track name, I would have known. So, there are biblical and ethymological references for someone that should accept the inevitability of death, a reference to the pandemia that would last in the future.

      02 I don t know this one, a reggae version of Muddy Waters:s “Baby please don’t go”, some liberties with the lyrics New Orleans becomes New Kingston, I have a box of Trojan
      (not the condoms) Reggae Christmas, so I am used to those jamaicanizations. I like it a lot, I don’t know what is the link with the future though.

      03 By the sound I don’t know this group at all, the hero of the story will spread its wings (like Icaros) and he walks with a fortune teller (as Saul listened to an oracle) which might lead to his demise. This goes back to the first song Too close to heaven (But like Icarus and like Saul You got too close to heaven, that’s all), I see false hopes an a fatality.

      04 Never heard this one, is that some kind of soul music? The future is not what it used to be. Reminds me a bit of Joe Cocker. A reflexion of the way the image of the future had changed, for the worse apparently.

      05 some kind of country, that “all our tomorrows” is more about future of love than society, a cheating part of me knows that the singer’s name is Ron Sexmith and I know that name,
      but I wouldn’t know if I hadn’t read it on your tracks I have some difficulties with the classic country orchestration, some less classic lyrics helps to make it digestible. We are back to a lifeless future and the acceptation of death!

      06 I hear a mumbling “future days”, this is not pearl jam and the future is mostly a future of relationships pecuniary or not. I have difficulties to understand that poetic licence.

      07 I never heard this one before a very classic kind of singing, the first message of hope since the beginning of the cd. I could grow to like it.

      08 Country? Nicely played though, is that dolly parton? Anyhow, “fly” and “sun” ends up again in the lyrics, I don’t know if I’m searching too much there but this feels more and more like the Icaros-mix.

      09 The Eels the only rock group ever being financed by Steven Spielberg, the leader’s father was the one that theorised the concept of parallel worlds when he died his wishes were that his ashes were thrown in the trash, they kept the ashes for a while until the day they followed his will, anyhow, this is about a personal future, Mark’s, not Hugh’s the third anyhow the future is slightly positive for him.

      10 I don’t know this one, and I know that I should a voice that reminds me of a crossing between morrissey and that bloke who sings in th Divine Comedy “When you let me fall, grew my own wings Now I’m as tall as the sky” one more reference to a fatal escape from a labyrinth. There is also the first evocation of a growing atheism. I really like this one!

      11 (21) This is a well known jazz standard whose lyrics reminds me so much of a happy version of Dead letter blues, I recognise the voice of the great satchmo so it is a later version. The choice of this song prophetise the death of relatives but not without sweet and sour vocalises.

      12 Hard to miss the voice of Tom Petty, I didn’t know that song though. You and I will meet again, there is still the hope to find a brother in the sky, great one! I’ve got to get this album!

      So, I don’t know if this is an oracle, but according to this mix, when the future arrive, we should get properly prepared or we will crash! Thank youSteve, I discovered new things that I will follow and other that I will try to understand…

  10. Thanks for the review @Pizon-bros – I did take a bit of a liberty with Baby Please don’t go – I assumed she hadn’t gone but might do in the future.
    A bit tenuous I know but that was my reasoning behind it and I just love this version.

  11. @Pizon-bros here goes:

    1) First song from 1977 I would guess – could be Stranglers although absence of keyboards to the fore would suggest otherwise. The singer definitely sounds like Hugh Cornwell though.
    2) There is a lovely piano and cello intro before a female voice comes in that at first sounds like a cross between Jimmy Clitheroe and Orville before settling down to sing about the last polar bear.
    Pleasant but a bit sappy for me.
    3) More like it – a nice slab of funk that most would instantly recognise even if they don’t know the particular song. I know the song but not which album it comes from. Great bass line on this one and copycat keyboard lines that swoop in and out. This artist is the master of this genre – accept no substitutes.
    4) Know this one – Northern lass covers Ray Davies admirably -Strawberry Jam and all the different varieties indeed. Love it.
    5) This one was also on the @Mike_H cd – didnt like it on first listen but it has grown on me – again I feel I should know the voice but can’t quite place it. Piano and female voice – you think the world is ending right now. The identity of the artist is driving me nuts.
    6) Starts with someone tuning up a guitar – male vocalist sounds a bit like Zappa but I think the song is later than him – quite nice. Again I feel I should know this one – sounds like a different vocalist as the song progresses – the words ‘For the ages to come’ appears repeatedly and I guess this may feature in the title.
    7) Nice guitar intro – funky with a female voice but this one is a bit meh song wise and doesnt match up to the instrumental sections. Nice keyboards and a different guitar refrain save it from the singer.
    8) Pub rock rock and roll – not keen on this one. Heard lots of bands do similar but better.
    9) Love this one – Pre war Woody Guthrie perhaps – a better world a coming – great.
    10) Non more AW friendly – we all know all this – great instantly recognisable vocals, guitar licks and brass to propel it along. Fabulous.
    11) Lovely instrumental – piano and keyboards creating a slow soundscape redolent of snowy arctic conditions. Could be Olaf Arnalds or Nils Frahm but suspect it is neither. I like this one very much.
    12) A fitting finale to a really lovely compilation – one that I will play often. Really cant tell you how much this song has grabbed me. Spellbound from first listen. A baritone voice that at first suggested Scott Walker. Lovely strings and a lone harmonica really augment this song but it is the voice, the words and the melody that are completely bewitching. I listened intently to the words and managed to guess the songs title. From this I tracked the singer and have gone out and bought two or three of his discs. So @Pizon-bros you have inadvertently cost me money but thats okay because this is one of the best songs I have heard this year. A spectacular climax. I now know this song was recorded in your country of residence – was that intentional or coincidental?

    Thank you.

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