Music - The Singles Collection

IndieLondon gleefully checks out the cream of the week's singles. All you have to do is click on the pictures to order them...

MONDAY, SEPTEMBER 27

SINGLE OF THE WEEK: REM - LEAVING NEW YORK: REM return with a shimmering piece of musical brilliance, that confirms them to be the masters of beautiful melancholy. Leaving New York is a completely beguiling affair, a poignant, pertinent and quite poetic love letter to the Big Apple, which touches on the politics which have compelled them to put on a concert with the intention of replacing the current US administration. It also taps into the world's sub-conscious love affair with New York, a place which contains as much beauty as the wonderfully constructed lyrics of Michael Stipe's songwriting genius. As an insight into what to expect from the forthcoming album, Around The Sun (which marks their 13th studio effort), it is almost peerless. Highly recommended.
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THE STREETS - BLINDED BY THE LIGHTS: The third single to be lifted from The Streets' A Grand Don't Come For Free long-player is a return to the sort of tedious form I have long been exasperated by. It's yet more cutting social commentary about an ordinary night out in 2004 that goes totally wrong. It's video has already been banned, due to the references to sex, drugs and violence, and the track is no less controversial. While the sentiment might be worthy, however, the dense smacky beats are repetitive and tiresome. For me, the mystery still remains why this guy is so popular.
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MOONEY SUZUKI - ALIVE AND AMPLIFIED: The Mooney Suzuki have been championed for some weeks by Xfm's Lauren Laverne, and even made record of the week on her drive-time show. It's easy to see why, given the infectious quality of this barnstormer, which is aptly summed up in the PR as three and a bit minutes of decadent rock n roll brilliance. Alive and Amplified is a head-turner of a track, an old-school record that manages to mix the camp glam-rock of, say, T-Rex, with the anthem-like stadium-filler zest of a Led Zeppelin record, complete with the sort of vocals that Mick Jagger would be proud of. It is the title track for the album, which, on the strength of this, is a must for rock 'n' roll fans.
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WAGON CHRIST - SHADOWS: Ninja DJ extraordinaire, Wagon Christ, aka Luke Vibert, swings on by with a timely reminder of why his album, Sorry I Make You Lush, remains so highly-acclaimed, and with three new mutant disco tracks to boot. Shadows is an utterly mournful track, made stronger by some haunting, sultry female lyrics, and an infectious, bouncy beat, that epitomises all that is brilliant about listening to the album. The utterly ridiculous organs also lend it the independent feel it so rightly revels in. Of the new tracks, Loose Loggins, is a chilled out breeze through Bonobo territory, with an utterly Ninja-laced beat, while the funky Souled Out mix of The Groove just invites you to dance with its tireless energy. But then the whole CD is an utterly compelling addition to the Ninja stable, which should have the cool cats among you purring for more.
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AUF DE MER - TASTE YOU: Bassist Melissa Auf Der Maur is more likely to be known for being a member, albeit briefly, of two of the biggest indie-rock bands of the nineties, Hole and the Smashing Pumpkins. Strangely enough, her introduction to both bands was through a friendship that developed after she apologised to Billy Corgan for her friend’s behaviour at one of the Pumpkins first ever gigs in Canada. Her new album is a welcome return for the female-angst style that was Hole. Sounding remarkably similar to fellow rock chick, Ms PJ Harvey, Auf Der Maur’s Taste You is raw, angry and remarkably infectious. The track showcases Melissa’s gorgeous voice and the skills she has taken from her time with Hole. The lyrics are somewhat obscure but the rocking rifts soon make up for that. The track is well polished and is a refreshing break from the girlie pop that has long since dominated the market. Auf Der Maur has identified the void Courtney Love left behind and boy has she ever filled it, you go girl!
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ASHLEE SIMPSON - PIECES OF ME: Nineteen-year-old singer-songwriter Ashlee Simpson is the latest addition to the rock-punk-pop fraternity currently headed by the likes of Michelle Branch and, more pertinently, Avril Lavigne. It's a gutsy, guitar-driven debut that is taken from the forthcoming album, Autobiography, that is dedicated to a best friend who brings her comfort at the end of a long, stressful day at work (as if there are that many for Simpson). As she states: "It's like a sigh. When I finally see him, all the other dramas fade away." As such, it lacks the fire of a Lavigne classic, while its opening salvo sounds like a blatant rip off of Suzanne Vega's Tom's Diner. But it does have merit, courtesy of the production values of John Shanks (who has worked with Sheryl Crow, Melissa Etheridge and Michele Branch), not to mention Simpson's undisputed vocal talent. As an insight into what we might expect from the long-player, it does offer some hope. And I'd rather listen to this sort of mainstream fare over the lightweight UK material that our girl bands currently see fit to put out.
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SUBTLE - FKO (F**K KELLY OSBOURNE): There's nothing too subtle about the name of this outfit's latest single, FKO (Fuck Kelly Osbourne), which seems destined to get them noticed just off the back of that. But the San Francisco-based sextet's quietly effective blend of folky hip-hop is worth checking out, not least for the way in which they use their electronic drums, three keyboards, electric cello, kid drums, three samplers, guitar and lead singer, Doseone's winsome vocals. FKO is, therefore, an enticing novelty record that, courtesy of its name, should earn the outfit a strong underground, dare I say cult, following. The remixes, too, are strong, proving that there's a great deal more to Subtle than mere shock tactics. They are well worth checking out, and you should make sure to track down the single in the backstreet record shops of London if the idea of folk hip-hop appeals. It's also worth pointing out that Subtle have been asked to remix the forthcoming Beck single and will be playing full UK and European tour dates. So they're hanging in the right circles.
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SUPER FURRY ANIMALS - MAN DON'T GIVE A FK: In anticipation of their forthcoming singles collection, The Super Furry Animals release the grand finale of their live experience: the full 24-minute, Bill Hicks sampling version of The Man Don’t Give A Fuck, that was recorded at Hammersmith Apollo recently. As a surreal journey into everything that the Super Furries do best, this probably puts them at the height of their wackiness, representing an absolutely essential purchase for any fan who has ever witnessed their live shows. It should suitably wet the appetites ahead of that retrospective singles collection.
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MONDAY, SEPTEMBER 20

IAN BROWN - KEEP WHAT YOU GOT: It's been a long time in coming, but former Stone Roses frontman, Ian Brown, has finally got together with Oasis' singer-songwriter, Noel Gallagher, for a keenly-anticipated collaboration - and the results are, well, pretty much as good as expected. Eschewing all the values we have come to expect from the duo, such as deep, moody vocals from the Monkey Man, and strong guitar support, by Mr Gallagher, this is a grower of a record, that has been taken from the excellent new album from Brown, Solarized. That it lacks the immediate impact of, say, Brown's collaborations with Unkle, for instance, is probably more down to the fact that this does exactly what is expected and nothing more. But there's no getting away from the fact that this is a monster collaboration, which really ought not to disappoint any Manchester music fans that have long pondered what a partnership between the two might sound like. It also is one that keeps getting better with each listen. Order the album...

FATBOY SLIM - SLASH DOT DASH: The term 'eagerly anticipated' is probably something of an understatement given the excitement surrounding the release of new Fatboy Slim material, but Brighton's DJ king is finally back in the musical spotlight, courtesy of new single, Slash Dot Dash (from the album Palookaville). The only trouble is, the track doesn't excatly blow you away. While certainly big, and totally dumb (by Norman Cook's own admission), the track doesn't really feel like a stretch for the Fatboy, raising concerns that he may be content to stick with a tried and tested formula. Slash Dot Dash could easily have sprung from the You've Come A Long Way era, rather than a new effort which offers the tantalising prospect of collaborations with the likes of Damon Albarn. It's fun, of course, and will go down a storm among the club crowd, but the repetitive mix of Ricky Valentine samples and monster guitars feels a little too familiar to really start raving about. So while it's good to have Mr Cook back behind the decks, it's not without a certain disappointment factor. Order the album

GROOVE ARMADA - I SEE YOU BABY: A welcome re-release for this seminal Groove Armada track, which comes courtesy of a delicious, booty-shakin' Fatboy Slim remix. Currently being given a new lease of life thanks to the Renault Meganne advert and the imminent release of the new Greatest Hits album. It's an epic party anthem which puts a smile on your face from the moment you hear it, as well as making you want to get up and shake your arse along to it! And there aren't too many tracks with such an infectious quality. Interestingly, the single was written after a 'messy' and 'hard to recollect' late night / early morning at Ibiza’s legendary Manumission club. As Tom puts it: "It was one of those moments when you slowly gather memories from the night before, piecing it together and not believing what went on. We had to capture the buzz, so we made the track the next day". Part of the influence came from the club’s MC Grandma Funk, who provides the tracks hypnotising vocals. Order the Greatest Hits l CD/DVD version
*Play the Groove Armada I See You Baby game

MUSE - BUTTERFLIES AND HURRICANES: Butterflies And Hurricanes is the latest track to be taken from Muse’s number one album, Absolution, and is notable for being the first single to be released in u-myx, a revolutionary new interactive music format that lets users mix their own versions of songs. Not that you may want to! This is trademark Muse - epic, sprawling and almost surreal in quality, courtesy of the band's rich soundscapes and Matt Bellamy's unmistakeable vocal style. Available in three formats, this is another of those lavish releases from the band, which should have fans scuppering to record shops across the land in search of every piece of memorabilia and Muse-related variations possible. The track is one of those that grabs your attention from the first moment you hear it, but which gets better and more rewarding with each listen. It is little wonder they are so highly regarded. Order the album.

PJ HARVEY - SHAME: The edgy menace that permeates throughout PJ Harvey's latest album, Uh Huh Her, is never more apparent than in Shame, a suffocating trawl through the dark heart of the singer's psyche, which screams out the torment and scorn she must have been feeling while writing. With gutsy lyrics such as 'I jumped for you into the flame, tried to go forward with my life, but just feel shame, shame, shame', there's no getting away from the fact that PJ means business, and the pulsating backdrop of rolling guitars and foreboding drums simply adds to the overall effect. It's a haunting effort, and one which confirms Harvey as one of the leading singer-songwriter's of her generation. And if you like Shame, then the album is a must for you.
Shame audio/video

SHYSTIE - MAKE IT EASY: A rap based around a sample of the classic Make It Easy (on Yourself), this second single from the acclaimed Diamond in the Dirt long-player confirms that Shystie won't be an underground rapper for very much longer. Taking a relaxed, trendy beat, that nostalgic sample, and a cheeky rap from the 21-year-old singer-songwriter herself, this exemplifies all that is noteworthy about the album, and finds the singer at her absolute best. If she forgets the Eminem-style, attitude-laden raps that are also a feature of the album, and concentrates on this sort of soul-laden, hip material, then the future looks very bright indeed. The CD comes with several remix formats, including efforts from MJ Cole and Davinche. Order the album.

ENGINEERS - COME IN OUT OF THE RAIN: London four-piece, Engineers, release their epic new single, Come In Out Of The Rain, as a taster of what to expect from the imminent mini-album, Folly, which is released a week later (on September 27). And it's supremely classy stuff, hinting at old-school, psychedelia-laced indie values, while also sounding completely fresh into the bargain. As the band itself states: "We don't sound like anything current. We don’t do it deliberately. It's just the way our music turns out. We're not like anyone else..." Hence, listeners can expect plenty of Simon Phipps' laidback, smooth vocals offset against the sweeping guitars of fellow band members, Mark Peters and Dan McBean. Still not sure? Then consider that Engineers are driven by a love of Dennis Wilson and Talk Talk, while the Manchester roots also have a part to play. The track comes complete with a stunning version of the Tim Hardin classic, If I Were A Carpenter, with drummer, Sweeney, making his vocal debut. Hugely recommended. Read about Engineers l Folly review
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BRAKES - PICK UP THE PHONE: There are novelty records, and then there are novelty records. Brakes' Pick Up The Phone/Can't Stand To Stand Beside You is one which really pushes the envelope. The title track, for what it's worth, is 24 seconds of noise - crashing guitars and a loud, screaming vocal of the lead singer shouting, 'pick up the phone'! The radio play track, Can't Stand To Stand Beside You is slightly better, coming across as more of a song, and offering some sort of glimpse into what this 'supergroup' might be capable of. On the strength of this, not that much, although the out and out rock sensibilities of the track may appeal to some. What's all the more disappointing, however, is that Brakes encompass the ample talents of British Sea Power's keyboard playing Eamon, Tenderfoot's Mark Beatty, and Tom and Alex White, of the Electric Soft Parade. They are calling themselves Brighton's answer to Velvet Revolver, but I'd sooner hang up than pick up this particular phone!

THE VACATION - DESTITUTE PROSTITUTES: The Vacation have been described as Jet's favourite band, and it's easy to see why. They possess the same sort of take no-shit rock attitude as Jet's recent Cold Hard Bitch, but with an altogether harder edge. Destitute Prostitues, for instance, contains the gritty, swaggering brand of rock 'n' roll that recalls the visceral punch of punk, mixed with the anarchic energy of turn of the 70s garage bands, as well as the monster hooks of The Clash and The Kinks. The guitar solo, especially, is pure vintage rock 'n' roll, absolutely down and dirty, and with a take-no-prisoners style. Singer, Ben Tegel's ragged vocals are certainly a defining feature, but it's the guitars of Steve Tegal that probably leave the lasting impression. Forget novelty acts such as The Darkness, this should be the real rock deal, and deserves to be a lot bigger than it will probably become.
Album review

PAUL McCARTNEY - TROPIC ISLAND HUM/WE ALL STAND TOGETHER: It's been 20 years since Paul McCartney released his delightful children's classic, We All Stand Together (The Frog Song), so it's apt that it should get a re-release, to help promote Macca's latest kids' song, Tropic Island Hum, the title track from a new animated film by the former Beatle, which introduces the cartoon character of Wirral the Squirrel. And while I must confess, at this juncture, to not having heard the new track, there's no denying the alluring, child-friendly quality of the ever-so-sweet We All Stand Together, which conjures fond memories of a childhood spent singing along with it, while watching the equally memorable video. This is one for anyone who wants to delight their children (and the odd person who has yet to grow up themselves!!).

MONDAY, SEPTEMBER 13

GREEN DAY - AMERICAN IDIOT: Green Day follow in the footsteps of The Beastie Boys by returning with a blast that is decidedly anti-Bush. Whereas the Beastie Boys did it via hip-hop, the Green Day trio use punk, and their work has seldom seemed so angry. American Idiot is a searing blast of political angst, directed at what the band sees as the evil heart of their homeland - and determining not to be influenced by the flag-waving media, who appear to be under Bush's influence. The intensity of their ill-feeling towards media coverage of recent events is exemplified in Billie Joe’s screaming lyric, ‘I’m not part of the redneck agenda’. The track is fast, furious and, quite possibly, one of the best things Green Day have ever produced. It’s hard not to become influenced by their passion. Click here to pre-order the album.

THIRTEEN SENSES - INTO THE FIRE: As Coldplay, Snow Patrol and Keane continue to grab the headlines in their attempts to secure the best yearning indie ballad title, Thirteen Senses have been quietly impressing their fanbase with tracks that are every bit as good. Following the success of Do No Wrong, the band now deliver Into The Fire, from the forthcoming album, Invitation, which has justifiably been made a record of the week on several radio shows, including Xfm's Drivetime. Piano-filled, and guitar-led, Into The Fire is an atmospheric, shimmering, beautifully-written and utterly compelling track that demands to find a strong listener base in its own right, without being tarred with the same brush as the aforementioned bands at the top of this review. On the strength of the singles they have released so far, Invitation could easily become one of the albums of the Autumn.
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BEASTIE BOYS - TRIPLE TROUBLE: They may be the men rather than boys now, but thanks to a career spanning nearly two decades, New York's hip-hop innovators still know how to carry a tune or two. Triple Trouble, taken from the band's excellent return to form, To The Five Boroughs, is classic Beasties, featuring a heavy break lift from classic oldie, Rapper's Delight, as well as a frenzy of scratched-up stabs of pure hip-hop nostalgia from the likes of DJ Mixmaster Mike. The lyrics, too, are as cheeky and pertinent as ever, ensuring that this is the funkiest party anthem on the new album, not to mention a glorious homage to their own, old skool youth. Plus, with lyrics such as 'what the Helen of Troy is that', you just know that the Beasties are having a good time. Look out for the enhanced CD of this release, which comes complete with a remix from ex-Blur guitarist, Graham Coxon, which adds an interesting take on the record, not to mention the super-goofey video, starring a real life Sasquatch. Album review

RAZORLIGHT - VICE: It may be the fifth single to emerge from Razorlight's debut album, Up All Night, but you can forgive the band for miking it for all its worth. Without doubt, one of the breakthrough albums of the year, Vice is another reason why the band could well overtake even The Libertines as the band of the decade. Devoid of the controversies surrounding Pete Doherty and co, Razorlight seem content to let their music do the talking for now, and boy does it sound great. The indie-pop, sing-along Vice is jam-packed full of feel-good melodies, stabbing guitars, and Johnny Borrell's excitable vocals. It may sound, in places, as though it's about to go into Stumble and Fall, and it may start the same way as a classic Raveonettes single, but it quickly comes back to deliver another blast of brilliance that really should provide the compelling proof of why this debut album should be a part of your collection come the year end. Bonus track, Golden Touch (recorded at Jo Whiley's lunchtime session) proves that, even live, this band sounds terrific. Album review

BLUES EXPLOSION - BURN IT OFF: The Blues Explosion storm back onto the scene with an absolute belter of a CD single package. Lead single, Burn It Off, offers a tantalising glimpse of what to expect from the forthcoming long--player, Damage, and is a gutsy, bluesy, 70s-geared slice of rock 'n' roll heaven, that recalls classic Rolling Stones. Featuring blistering guitar solos, throaty, no-nonsense vocals and lyrics ('I'm like a blind man, I've been lost for so long'), and a classic killer drum beat, this sets out the men from the boys in terms of delivering old school rock 'n' roll. Long may it last on the album, which, while we're on the subject, features producers such as DJ Shadow, David Holmes and Dan The Automator, not to mention vocal turns from Martina Topley-Bird and Public Enemy heavyweight, Chuck D. If that's not enough to recommend it, then Burn It Off comes complete with the DJ Shadow-infused Fed Up and Low Down, which is as spliced up, jagged and downright manic as you might expect from a collaboration between the two. It could easily be a bastardised Stones track from their vintage 70s back catalogue. While the third track, Cold, Cold Eyes, is a demo version of another rock-blues epic. Exceptional stuff.
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THE DETROIT COBRAS - CHA CHA TWIST: The Detroit Cobras release their eagerly-anticipated new single, Cha Cha Twist, a deliriously funky rock 'n' roll re-tread of 'let's do the twist', which is as edgy and glorious as you might expect from this outfit. And if you haven't heard of them before, then you're probably subconsciously aware of the single anyway, given that is currently being employed by the Coca Cola Corporation to help sell its fizzy drinks - apt, really, given how bubbly this track is! Look out, too, for the video, which features fellow Motor City resident and long-term friend of the band, Meg White, of The White Stripes, dressed up as Little Red Ridinghood. Cha Cha Twist is two and a half minutes of stripped down rock 'n' roll excellence, which expertly splices its Sixties-rooted sensibilities, with the unmistakeable sound that is coming out from Detroit right now. You won't want to miss out, for this is sure to be one of the cool cat party anthems for anyone who knows anything that's good about music. Pre-order the album.

JOSS STONE - YOU HAD ME: Teenage soul sensation, Joss Stone, changes tack considerably for her new single, You Had Me, the first track to emerge from her new album, Mind, Body and Soul (her first album of original material). This is far more contemporary that anything on the Soul Sessions long-player, even though it contains hints of Stevie Wonder's Superstition, not to mention Stone's breathtaking vocals. The only trouble is (and it's a minor quibble really) that there is a danger that Stone could end up sounding like just another soul/r'n'b diva, given the smooth groove style of this track. It's good, but not as immediately take-notice as much of her earlier work, and there are times when you almost have to be reminded that this is, indeed, a Joss Stone track. It remains to be seen how the rest of the album shapes up, but the jury is most definitely out on this one - good as her voice remains. Pre-order the album

INTERPOL - SLOW HANDS: Xfm are raving about Interpol, while several music journos are placing them in the same musical bracket as The Strokes and co. It's pretty easy to see why. The band's music probably belongs in the same genre, but contains an urgency and vibrancy about it that marks it apart from just another band attempting to cash in on the sound of the moment. Slow Hands is the first single to be taken from the new album, Antics, and is probably as assured a track as they have so far delivered. Driving, assured and steeped in quality, it's little wonder the vibe surrounding them is only set to get bigger. Pre-order Antics.

THE WIRE DAISIES - BUTTERFLY (DOWNLOAD ONLY): Cornish four-piece, The Wire Daisies, deserve to be a lot more widely known than they currently are on the strength of this beatifully melancholic single, Butterfly, which comes in a download-only format, but which will also be on the upcoming album, Just Another Day. Lead singer, Treana Morris' sultry, dreamy vocals flutter past you like a day-dream in waiting, effortlessly accompanied by the begiuling guitar riffs of Alden Evans, which get stronger and stronger as the track wears on. It's a wonderful, crisp single, that marks The Wire Daisies out as an incredibly assured new talent. Little wonder, then, that they have been able to attract the producing talents of John Cornfield, who has previously kept company with the likes of Oasis, Muse and Supergrass. Outstanding, compelling stuff. Click here for the album sampler, here to find out more, or here for video and audio links.

Us3 - CANTALOOP 2004: A welcome, albeit slower makeover, for Us3's seminal acid-jazz track, Cantaloop, which neatly paves the way for the new album, Questions. The 2004 version features two new Us3 versions of the original, along with two exclusive swinging hip-hop remixes by Wajeed, of Bling47, and J Rawis, of the Lone Catalysts. It's all gloriously funky, funky, funky, and certain to grace the late night bars and clubs of the swinging Clapham bar crowd, but there's no getting away from the feel-good value of the track, or its timeless nature (no matter what format it comes in). The only real disappointment is that it doesn't really provide any insights into what to expect from the long-player, preferring to trade on the familiar, and opening Us3 up to accusations that they are merely content to sit back and live off the rewards of past pleasures, while expecting the loyal fanbase to fork out for yet another makeover. But we can assure you that the album contains plenty of equally spellbinding tracks, while the 2004 Cantaloop should really provide an excellent introduction to the outfit to an all-new fanbase. Fingers crossed....
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BRYAN ADAMS - OPEN ROAD: Open Road is an automatic choice for first single to be taken from Bryan Adams' latest studio album, Room Service, given that it was largely recorded in hotels and backstage during the 'groover from Vancouver's European tour, over the past two years. Yet don't let that put you off. It's a far more rockier, old school affair than some of the drippy, romance-based numbers he has delivered over the past few years, provoking favourable comparisons with the likes of Summer of '69, Run To You and the Waking Up The Neighbours era. It may, ultimately, fall short of the classic status of some of those records, but it's good to have Adams back in the rock 'n' roll groove and it bodes well for the rest of the long-player, and his forthcoming tour. The chorus is one of those that remains catchy inspite of itself. A guilty, old-school pleasure.
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MEOW MEOW - SICK FIXATION: Los Angeles-based four-piece, Meow Meow deliver their second single, Sick Fixation, to precede the release of their keenly-anticipated debut album, Snow Gas Bones. On the strength of this, it could well be a belter. Sick Fixation mixes some ambient loops with warped Beach Boys harmonies and experimental, effects-laden guitar-work, to create something that also provokes comparisons with the likes of the Fountains of Wayne. Certainly, the sun-dripped sound of California shines through the pop sensibilities demonstrated in the catchy chorus, while the bonus track proves they are no mere one-trick ponies. It may be a little harder than the Fountains or the Beach Boys, and may appeal to American listening sensibilities, but there's no getting away from the fact that this lets in a little of the Summer sunshine that we have so far been missing this term. Well worth checking out. Click here to buy the album on import...

ANNIE - CHEWING GUM: Richard X has already leant his X factor to the likes of The Sugababes and Liberty X, so attempts to repeat the trick for sassy pop starlet, Annie (aka Annie Lilia Berge Strand), in the form of Chewing Gum, the first track to emerge from her new album, Anniemal. And while it's not quite as good as some of the collaborations that appear on his album, Richard X Presents his X Factor, it is a more tolerable example of the pop genre, courtesy of the sexy vocal style and the knowing sense of fun. It's all very clap-happy, safe and nob-twiddly, but it should go some way to placing Annie back on the pop map, following the underground success of her past single, The Greatest Hit, which featured a loop from Madonna's Everybody. Annie, herself, who hails from Norway, relished the opportunity to work with Richard X, stating: "He must be one of the nicest people I've ever met. This track sounds a bit like the Tom Tom Club." Enough said?
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NICK DRAKE – RIVER MAN: River Man marks the second ever single release of a Nick Drake song and is taken from his debut album, Five Leaves Left, while also featuring on the forthcoming Best Of collection, A Treasury. Arranged by Harry Robinson and produced by Joe Boyd, River Man is probably one of Drake’s best-known and most haunting songs. It contains many of the distinguishing features that provided the inspiration for contemporary artists such as REM, Paul Weller, Travis, Portishead, The Coral, Coldplay and David Gray, to name but a few. It is also a timely reminder of what a massive talent Drake was. Beguiling, enchanting, melancholic and beautiful, River Man, in single format, marks a downright essential purchase for any true fan of the artist, and comes complete with a pop promo for the track, done by renowned video director, Tim Pope (The Cure, Soft Cell and Talk Talk, etc), and a delicious cover version of another Drake classic, Day Is Done, by Norah Jones (which should also lend it crossover appeal for fans of the female singer). Click here to order Five Leaves Left, or here to order A Treasury.

DIDO - SAND IN MY SHOES: The latest single to emerge from Dido's hopelessly successful second album, Life For Rent, this is as typical as we have come to expect from the female performer - and certain to please her middle-of-the-road fans. Packed with typical vocal reflections, that soothing style, and considered songwriting, the track is certainly one of the more upbeat efforts to emerge from the long-player, but I still can't help feeling she should lend her voice to something a little more challenging, than these indifferent beats and melodies. Given her background, her musical connections, etc, Dido seems primed for venturing into different areas (imagine a Zero 7-style backdrop, for instance), yet she prefers to play it safe with guaranteed chart-fillers such as this. A journeyman effort, really, but I doubt that will put the dedicated followers off.
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STATUS QUO - YOU'LL COME ROUND: Status Quo herald the arrival of their forthcoming greatest hits album, XS All Areas, and their new tour and book, with this new single, You'll Come Round, which, as one might expect, eschews all the values we have come to expect from the band - that is to say, driving guitars set around Francis Rossi's trademark vocal style. It delivers nothing new to the Quo formula, but will come as a welcome new effort for the diehard enthusiasts who have followed the band's journey from Pictures of Matchstick Men, in 1968, to 2002's Jam Side Down. The unconverted need not apply, particularly as bonus tracks Lucinda and Down Down (Live) feel as though they are geared towards the complete promotion of the greatest hits package (album, tour, book, etc). Click here to pre-order the album, here for the book, or here for the gig guide.

GIRLS ALOUD - LOVE MACHINE: Forgive me if you hear the sound of snoring on this one... but I've never really got the whole girl band/boy band thing - even as a sweaty teen (many, many moons ago; ok, not that many!!!) Girls Aloud is just another in a long and tireless line of sound-alike outfits just awaiting a breakaway singer to go it alone. Love Machine fits the prescribe formula perfectly - it's bouncy, sweet and downright annoying to boot. Occasionally, the hillbilly mash-up of 70s disco classics provokes favourable comparisons with the likes of The Sugababes, but then you have to keep telling yourself that the girls are pale imitations really. And the worst part about it is that this will probably chart higher than many of the aforementioned better singles released this week, which makes my snores the stuff of nightmares!!!!

MONDAY, SEPTEMBER 6

FOUNTAINS OF WAYNE - HEY JULIE! – Another effortlessly feel-good slice of alt-pop from The Fountains of Wayne, Hey Julie aptly demonstrates why they are widely considered to be one of the finest bands around. Like Stacie’s Mom before it, and the likes of Radiation Vibe (from past albums), Hey Julie is instantly infectious, skilfully written and a truly memorable track that exemplifies all that is great about listening to music. It’s taken from the equally sublime album, Welcome Interstate Managers, which was one of the finest albums to be released last year. If there was any justice, The Fountains of Wayne would be massive – and if you don’t already own the latest album, then make sure you do. Click here for our verdict on the long-player, or here for a review of the band’s recent gig at The Islington Academy.

GOMEZ – SWEET VIRGINIA: The third single to be taken from Gomez’s excellent fourth album, Split The Difference, Sweet Virginia is a swampy ballad of subtle beauty that contains shades of the band’s classics, Tijuana Lady and We Haven’t Turned Around. It features a string arrangement scored and recorded by an Australian friend of the band, known as Naomi Radom – who, according to Ian Ball, is ‘an absolute nutcase, totally wired off her head, but she knows a lot of classical music’. It lends the track a beguiling beauty to it, which makes it something of a hypnotic listen, while eschewing all the familiar values we have come to love and hold dear as Gomez fans. The CD also features the new songs, Royalty and Champagne for Monkeys, as well as Bed Hairdo, which has previously only been available as a download. Click here for our verdict on Split The Difference.

RADIO 4 - ABSOLUTE AFFIRMATION: Following hot on the heels of Party Crashers (which became an NME single of the week), Radio 4 deliver another driving blast of rock fun that should ensure everyone tunes in. Produced by Max Heyes (Doves, Primal Scream), and recorded in Radio 4's hometown, New York City, this hints at the 80s revival that seems to surround most acts coming out of the Big Apple, while also sounding fresh and contemporary to boot. The guitar work, especially late on, weaves an effective tapestry throughout the track, in a way that The Cure have perfected, while the vocals are as crisp and energetic as we have come to expect from the outfit. And, on the remix front, Tom Middleton's Cosmos Mix adds some beat-laden menace, bringing out the driving bass, and adding some electronic effects to the vocals, as well as a distinctly 80s cheesy flavour with the synths. Pick of the bunch, though, is Si Begg's breezy Fragmented Mix, which sounds tailor-made to pack the dancefloors among the indie crowd.
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THE MUSIC – FREEDOM FIGHTERS: Hard-rocking The Music return with a typically in-yer-face slice of rock ‘n’ roll that mixes the guitar brilliance of both John Squire and Jimmy Page, with some equally Zeppelin focused vocals. Freedom Fighters is an out-and-out foot-stomper, that suitably wets the appetite ahead of the release of the second album, Welcome To The North. What’s more, the track does mark some sort of progression, courtesy of guitar riffs that suggest the band has come of age somewhat, even if the vocal-style remains as trademark as ever (which is no bad thing). The vigorous guitar work-out midway through seems tailor-made for the live crowd, where The Music are said to be at their most invigorating. A welcome comeback from one of the hotly-tipped bands of the past couple of years.
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JOHNNY PANIC - BURN YOUR YOUTH: Johnny Panic (whose name is taken from the author and poet, Sylvia Plath's book, Johnny Panic and the Bible of Dreams, follow-up their breakthrough single, You're A Fool, with another take notice rock number, which eschews the production values of Al Clay (The Pixies and A). Hailing from south east London, this promising quartet is comprised of Rob Solly (vocals, guitar), Jonny Shock (drums), Nash Francis (bass, vocals) and Matt James (guitars, vocals) and appear to be a tight little outfit, capable of producing catchy, fiery rock numbers that seem destined for a much wider appeal than they are currently attracting. Burn Your Youth is a fun little anthem, which screams defiance, without ever sounding depressing. Keep an eye on this outfit.

NICK CAVE AND THE BAD SEEDS – NATURE BOY: The first single to emerge from Nick Cave And The Bad Seeds’ new studio double-album, Abattoir Blues/The Lyre Of Orpheus, Nature Boy is, quite possibly, one of the band’s strongest and most adventurous songs to date, featuring, as it does, the London Community Gospel Choir. While rooted in the same sort of country-tinged alt-rock that is unmistakeably Nick Cave territory, it also possesses a far more mainstream feel, which could quite easily attract the band a much greater following than they have previously enjoyed. As a glimpse of what to expect from the double-album, it wets the appetite nicely. Cave fans certainly won’t be disappointed; while the uninitiated, or even the sceptical, may have cause to think again. Order the album.

THE KINKS – YOU REALLY GOT ME (40TH ANNIVERSARY): One of The Kinks’ signature tunes, You Really Got Me comes complete with a memorably classic riff, which helped it to become one of the most famous songs in the world for the ultimate Britpop band. Despite being 40-years-old, it still retains an air of freshness that is arguably missing from a lot of today’s material. This re-release also marks the opportunity to own a little bit of rock ‘n’ roll history, and to revel in some gleeful nostalgia, courtesy of one of the feel-good records of UK rock history. Does it need any further introduction?

MCFLY – THAT GIRL: The Lord save us from boy bands, especially those that think they are trying to be something other than what they are. McFly are the latest turgid entry into the mainstream hall of fame, attempting to woo and win the girls with their boyish good looks and innocent antics. That Girl, the latest effort to emerge from the band’s debut album, attempts to gain some mileage by adopting some classic rock ‘n’ roll styling, evoking memories of teddy boys swinging their hips, while dancing with the ladies. Think Shakin’ Stevens, or Alvin Stardust, and you might have some idea of what to expect. And, as usual, the song’s about one of the band members attempting to attract the girl of his dreams. The nightmare is that people actually go out and buy this stuff. But then, when taking a look at the charts nowadays, there’s no real accounting for taste. Click here to order the album…

PETER ANDRE – THE RIGHT WAY: Another pop star that won’t seem to go away, courtesy of his televised antics on ITV’s I’m A Celebrity programme (reality TV continues to have a lot to answer for). Having re-established himself among the screaming teens, Andre bids to continue to seduce them with this deep, meaningful ballad, which will probably be touted as a love-song to current girlfriend, Jordan (both appear in the video, which provokes laughable comparisons with the sort of soft-focus sex that made Wham’s Careless Whisper so cheesy). Yet cheese is what this is all about and there is nothing (and I stress, nothing) worth getting excited about. It’s laboured, dreary, uninspired and, ultimately, crap. Can someone please get Andre and Jordan a one-way ticket back to the jungle island from where they re-appeared. Please!