Cate Le Bon

Cate Le Bon's terrific new LP, 'Mug Museum', featuring contributions from Sweet Baboo and H.Hawkline, is her third full length release and first since relocating from Cardiff to Los Angeles. After just a couple of plays it's looking odds on to feature in my top ten albums of the year. Here's Cate, demonstrating another string to her bow, with 'Are You With Me Now?'.

Version City #20 - Christmas Number One

I note that a Facebook campaign has recently been launched, with the admirable aim of getting AC/DC's 'Highway to Hell' to the Christmas No.1 spot. All well and good and no doubt infinitely preferable to any of the likely alternatives on offer, but give me Ed Kuepper's interpretation any day. Ed Kuepper for Christmas No.1? Where do I sign up?

Version City #19 - Hamadth Kah sings The Police

For the past couple of days I've been immersed in the varied musics of West Africa, courtesy of Sahel Sounds. The label's output is diverse, ranging from raw, atmospheric field recordings to pitch-bending, auto-tuned experimentation and beyond. The best stuff is very good indeed and I'll be featuring more in the future, that's for sure.

For now, here's a familiar tune by Hamadth Kah, taken from the 'Laila Je T'Aime' compilation of field recordings.



As a bonus, my favourite cut from the same LP, the mesmerising 'Kaounare' by Alkibar Gignor.

Own Up Time

Old Pa, over at Tune Doctor, recently regaled us with the story of Steve, a man convinced of his own irresistibility to the opposite sex. The tale reminded me of Mark, a guy I knew when we were both about 18. Much like Steve, Mark thought he was God's gift to all women. He drove a souped up Ford Escort complete with the inevitable furry dice and whenever he spied a young lady he wanted to try and impress, he would sit at traffic lights in 1st gear revving and revving to get their attention, then let the clutch up as the lights changed and screech off, wheels spinning, down the street. He must've spent a fortune on tyres.

One day I was sitting in the passenger seat of his car, as Mark pulled up to red traffic lights and commenced his party piece for the millionth time. I just couldn't take it anymore. My right arm was leaning on the central armrest, so as he held the clutch down and revved the engine to attract the eye of a lady he'd spotted, I was able to pull the gear-stick back from 1st to neutral with a quick flick of my fingers. Unaware, he continued to rev, winking and smiling at the young lady in question as she crossed the road in front of us, until the lights changed, at which point he let the clutch up and floored the throttle. Except, of course, we didn't move an inch. It did, however, make a hell of a racket and everyone in the vicinity turned to see what was going on. The engine roar echoed around the narrow streets as Mark, red-faced, frantically tried to find a gear in which to slink away from the traffic lights. It was a glorious moment. Amusingly, after recovering from his embarrassment, he assumed that he'd missed the gear himself and never suspected me! 35 years later - I confess!

Portrait Gallery

A splendid figure of a man don't you agree? I'm assuming he's a butcher and that it might be a leg or thigh wrapped up and tucked away under his arm. Whatever his trade, I wouldn't like to mess with him - he doesn't look the sort to suffer fools gladly. He's a recent car-boot sale acquisition.

The majority of my small collection of old photos are tucked away in boxes and albums, but a select few grace the wall I face as I type these words - including my friend the pipe smoking butcher. My very own private portrait gallery. If you think that's a cue for a song, you're bang on. Here's Luke Howard with a beautiful piece from his recent album 'Sun, Cloud'.

Last Night I Said Goodbye to My Friend

These days most bands reform eventually, to some extent or other, and by the time they do, it's old news thanks to social media. In 1993, when word spread that the Velvet Underground were reuniting for a European tour, it was a huge surprise. Two shows were scheduled for London, one at Wembley Arena, the other at The Forum in Kentish Town. It would have made sense to apply for Wembley tickets, with much more chance of being successful, but somehow the thought of VU in a barn didn't sit right with me, so I gambled on the smaller venue, sent off my cheque and stamped addressed envelope, sat back and waited. The gamble paid off.

It was a privilege to be in such a small room with The Velvet Underground during that brief reformation and witness, at close quarters, the glances, nods and smiles between band members as they rediscovered and rekindled their magic in front of us. The songs seemed frail, almost stapled and gaffa-taped together in places, by turns brutally primitive and utterly transfixing. When it came to the encore, we all howled.

As a postscript, here is the very last performance by The Velvet Underground. A song of farewell to their fallen comrade Sterling Morrison, filmed at the band's Rock'n'Roll Hall of Fame induction in 1996. Watch out for the glances, nods and smiles.

Jonathan Wilson

Two years after the fabulous 'Gentle Spirit' comes Jonathan Wilson's new LP, 'Fanfare', featuring contributions from Jackson Browne, Graham Nash, David Crosby, Roy Harper and Gary Louris of The Jayhawks. Wilson is a respected producer, with, personal favourite, Father John Misty's 'Fear Fun' among his credits. 'Fanfare' is, in it's own way, as quietly diverse as that LP, basking in the golden glow of the Laurel Canyon one minute, before heading off into prog-lite noodlings, folky flourishes or gentle funk workouts the next.

In common with so many of my favourite efforts of 2013, 'Fanfare' is, unapologetically, an 'album' - best enjoyed when listened to from start to finish. Here though, by way of a taster, is 'Dear Friend'.