Live Albums - 1990 to 1999
Things thin out in the nineties and the advent of MTV Unplugged - discussed in the first Clapton post below has a big impact. Here are the albums in this post:
Unplugged - Eric Clapton (Jan 92)
Career Moves - Loudon Wainwirght III (Jan 93)
Live: Shit, Binge Purge - Metallica (Mar 93)
MTV Unplugged - 10,000 Maniacs (Apr 93)
MTV Unplugged in New York - Nirvana (Nov 93)
Storefront Hitchcock - Robyn Hitchcock (Mar 1998)
UNPLUGGED
Recorded: 16th January 1992
Eric Clapton
So what do we think of the version of 'Layla' that is on this? That's right, I've had a little break and I'm coming back all fired up with heretical opinions. But before we get into that, it's worth reflecting that this entire post will be dominated by MTV Unplugged offerings. I'm not so sure about what prompted it at the time but the accepted wisdom was that MTV had hit musical credibility gold by getting major artists into a TV studio and making them go acoustic. Praise be that Bruce told them exactly where they could stick their non-existent jackplugs.
Maybe we were all jaded with the inevitable stadium shows of the late 1980s and so started congratulating ourselves that we could appreciate a more pure form of live music. "Stripped down" was the watchword.
Anyway, 'Layla' on this is a prime example of one of the times the whole experiment failed. He turned a searing, exciting, howlingly emotional song with a killer riff into a right old dirge. What's worse, everyone lapped it up as a masterful reinterpretation of a signature song. Well, no thanks all the same Eric.
For the rest, it's pleasant enough, but slow blues from white middle-class Englishmen having a bad-hair decade are unlikely to float my boat. I do like the classical guitar of the opening Signe, and my heart isn't stony enough that I'm going to slag off 'Tears In Heaven', for which he's joined by Andy Fairweather-Low
Band Bantz: "See if you can spot this one" he says before 'Layla'. Well, some do (or at least pretend to) but the rest need the first line before they cotton on.
Heckles And Coughs: There's an air of smugness that radiates out from the recording. They feel they're witnessing something special - the 'real' Clapton. If I'd been there I think I might have wanted to see him rock out.
Next Track Off The Rank: Helpless - CSNY
CAREER MOVES
Recorded: 8th January 1993
Loudon Wainwright III
I love this album. Had it since its release and it captures everything that is great about Loudon Wainwright. He's funny, stupid, nostalgic, sad, odd, joyful, unsettling and at various points throughout this. It's also a good live album because it captures him in a fairly intimate setting with a small crowd, so when we get the Band Bantz and Heckles and Coughs sections there's plenty of material to go on.
For the funny stuff there's 'I'm Alright', the "happy blues" where he's overjoyed to discovered waxed floss in his hotel room. He laments the problems of having a long a complex name on 'TSMNWA' (they spelt my name wrong again). He even does a sort of take on Victoria Wood's 'Ballad Of Barry and Freda', a dialogue between a sexually keen woman and a not-so-keen man, with 'He Said, She Said'. The Acid Song is about as stupid and goofy as you can get and confirms that you really need to be on it to appreciate the Grateful Dead.
Nostalgia? 'Five Years Old'. Written to celebrate daughter Martha's fifth birthday, but the tone of the song is that it's a written letter, he's not actually at the birthday party, so it's a subtle combination of joy at the simple requirements of a young child, and sadness that he can't experience it first hand. Probably his own fault mind you.
As for sadness. 'Your Mother and I', is pretty grim and he compounds it by doing it straight after 'Five Years Old, just in case you didn't quite realize why he was missing his kid's birthdays. He also picks at the running sore of entrenched family tensions in 'Thanksgiving'
For sheer oddness 'The Man Who Couldn't Cry' takes the honors. The story of a man who couldn't weep and was locked away in prisons and asylums could mean anything really. In the end he starts to cry whenever it rains until he cries himself to death and then the world runs out of water.
'April Fool's Day Morn' is the unsettling one. A tough reminiscence of getting drunk, violent and abusive as a young man before making his way home to a forgiving mother.
But I think of it all, it's the final, title track that I love the most. Wainwright distils his entire career into a touching reflection on why he loves what he does so much, singing "again and again, about unhappy love".
Band Bantz: Loudon gets some additional musicians onstage about halfway through and they immediately start lamenting male pattern baldness and excess hair coming from various orifices. It's that kind of gig.
Heckles and Coughs: After a while the audience gets a bit bolder and start calling out song requests but he stoically resists and goes on with 'Unhappy Anniversary' although it's possible someone shouted it out. Shortly after a woman in the audience calls out for 'Motel Blues' but he politely rejects, explaining that his therapist has told him to be more assertive with women and not to do stuff that he doesn't want to do for them.
Next Track Off The Rank: Ruby by Dave Rawlings Machine
Unplugged - Eric Clapton (Jan 92)
Career Moves - Loudon Wainwirght III (Jan 93)
Live: Shit, Binge Purge - Metallica (Mar 93)
MTV Unplugged - 10,000 Maniacs (Apr 93)
MTV Unplugged in New York - Nirvana (Nov 93)
Storefront Hitchcock - Robyn Hitchcock (Mar 1998)
Recorded: 16th January 1992
Eric Clapton
So what do we think of the version of 'Layla' that is on this? That's right, I've had a little break and I'm coming back all fired up with heretical opinions. But before we get into that, it's worth reflecting that this entire post will be dominated by MTV Unplugged offerings. I'm not so sure about what prompted it at the time but the accepted wisdom was that MTV had hit musical credibility gold by getting major artists into a TV studio and making them go acoustic. Praise be that Bruce told them exactly where they could stick their non-existent jackplugs.
Maybe we were all jaded with the inevitable stadium shows of the late 1980s and so started congratulating ourselves that we could appreciate a more pure form of live music. "Stripped down" was the watchword.
Anyway, 'Layla' on this is a prime example of one of the times the whole experiment failed. He turned a searing, exciting, howlingly emotional song with a killer riff into a right old dirge. What's worse, everyone lapped it up as a masterful reinterpretation of a signature song. Well, no thanks all the same Eric.
For the rest, it's pleasant enough, but slow blues from white middle-class Englishmen having a bad-hair decade are unlikely to float my boat. I do like the classical guitar of the opening Signe, and my heart isn't stony enough that I'm going to slag off 'Tears In Heaven', for which he's joined by Andy Fairweather-Low
Band Bantz: "See if you can spot this one" he says before 'Layla'. Well, some do (or at least pretend to) but the rest need the first line before they cotton on.
Heckles And Coughs: There's an air of smugness that radiates out from the recording. They feel they're witnessing something special - the 'real' Clapton. If I'd been there I think I might have wanted to see him rock out.
Next Track Off The Rank: Helpless - CSNY
Signe
Before You Accuse Me
Hey Hey
Tears In Heaven
Lonely Stranger
Nobody Knows You When You're Down And Out
Layla
Running On Faith
Walkin' Blues
Alberta
San Francisco Bay Blues
Malted Milk
Old Love
Rollin' & Tumblin'
Circus
Recorded: 8th January 1993
Loudon Wainwright III
I love this album. Had it since its release and it captures everything that is great about Loudon Wainwright. He's funny, stupid, nostalgic, sad, odd, joyful, unsettling and at various points throughout this. It's also a good live album because it captures him in a fairly intimate setting with a small crowd, so when we get the Band Bantz and Heckles and Coughs sections there's plenty of material to go on.
For the funny stuff there's 'I'm Alright', the "happy blues" where he's overjoyed to discovered waxed floss in his hotel room. He laments the problems of having a long a complex name on 'TSMNWA' (they spelt my name wrong again). He even does a sort of take on Victoria Wood's 'Ballad Of Barry and Freda', a dialogue between a sexually keen woman and a not-so-keen man, with 'He Said, She Said'. The Acid Song is about as stupid and goofy as you can get and confirms that you really need to be on it to appreciate the Grateful Dead.
Nostalgia? 'Five Years Old'. Written to celebrate daughter Martha's fifth birthday, but the tone of the song is that it's a written letter, he's not actually at the birthday party, so it's a subtle combination of joy at the simple requirements of a young child, and sadness that he can't experience it first hand. Probably his own fault mind you.
As for sadness. 'Your Mother and I', is pretty grim and he compounds it by doing it straight after 'Five Years Old, just in case you didn't quite realize why he was missing his kid's birthdays. He also picks at the running sore of entrenched family tensions in 'Thanksgiving'
For sheer oddness 'The Man Who Couldn't Cry' takes the honors. The story of a man who couldn't weep and was locked away in prisons and asylums could mean anything really. In the end he starts to cry whenever it rains until he cries himself to death and then the world runs out of water.
'April Fool's Day Morn' is the unsettling one. A tough reminiscence of getting drunk, violent and abusive as a young man before making his way home to a forgiving mother.
But I think of it all, it's the final, title track that I love the most. Wainwright distils his entire career into a touching reflection on why he loves what he does so much, singing "again and again, about unhappy love".
Band Bantz: Loudon gets some additional musicians onstage about halfway through and they immediately start lamenting male pattern baldness and excess hair coming from various orifices. It's that kind of gig.
Heckles and Coughs: After a while the audience gets a bit bolder and start calling out song requests but he stoically resists and goes on with 'Unhappy Anniversary' although it's possible someone shouted it out. Shortly after a woman in the audience calls out for 'Motel Blues' but he politely rejects, explaining that his therapist has told him to be more assertive with women and not to do stuff that he doesn't want to do for them.
Next Track Off The Rank: Ruby by Dave Rawlings Machine
Road Ode
I'm Alright
Five Years Old
Your Mother And I
Westchester County
He Said, She Said
Suddenly It's Christmas
Thanksgiving
T S M N W A
The Swimming Song
Absence Makes The Heart Grow Fonder
Happy Birthday Elvis
April Fools Day Morn
The Man Who Couldn't Cry
The Acid Song
Tip That Waitress
Career Moves
LIVE SH*T: BINGE AND PURGE
Recorded: Feb-March 1993
Metallica
Can you get too much of a good thing? Metallica test the question to its limits here. There's nearly 3 hours of concert here across 3 CDs and, for the first time, I've been defeated by an album. I'll sit through 3 hours of Bruce in the flesh with no difficulty and be disappointed when it finishes, and I love a bit of Metallica, but 'a bit' is all I need. It's strong meat and there are only a limited number of ways it can be cooked, so I got to the end of Disc 1 and had had my fill. Binge and Purge indeed.
They really are coy about the word 'shit' on the cover too. Is it just because it's intended for public display? I have a sneaking suspicion that Metallica are not averse to playing the Corporate Shill and will toe the line for furtherance of their brand. See also a willingness to appear to play along with a dodgy hedge fund manager in Season 1 of Billions.
But, but, but. It is all great, driving, exciting, visceral music and every Metallica song you could ever want is here. 'Enter Sandman', 'Harvester Of Sorrow', 'The Unforgiven', 'Master Of Puppets', 'Nothing Else Matters', 'One' and all the rest. In fact they have so much that they need to get through that most of the And Justice For All album is dashed off in a medley. However the 18 minutes of solos at the end of Disc 1 would try the patience of the Grim Reaper himself.
Band Bantz: The language! Effing and jeffing every other word. The audience are expected to do everything like 'motherfuckers' and all of their material is 'this shit'. I'd be offended if it were me. They're in Mexico, and Hetfield may have exhausted his Spanish vocabulary after the word 'cervesas'.
Heckles And Coughs: Perhaps the most disappointing thing for me was my favorite song of theirs, 'Master Of Puppets', where Hetfield leaves most of the song to the audience. Worse than Robbie Williams doing 'Angels' at Knebworth (well, nothing's quite that bad).
Next Track Off The Rank: No Excuses by Alice In Chains
The Ecstasy Of Gold/Enter Sandman
Creeping Death
Harvester Of Sorrow
Welcome Home (Sanitarium)
Sad But True
Of Wolf And Man
The Unforgiven
Justice Medley
Solos
Through The Never
For Whom The Bell Tolls
Fade To Black
Master Of Puppets
Seek And Destroy
Whiplash
Nothing Else Matters
Wherever I May Roam
Am I Evil?
Last Caress
One
Battery
The Four Horsemen
Motorbreath
Stone Cold Crazy
MTV UNPLUGGED IN NEW YORK
Recorded: 18th November 1993
Nirvana
The early nineties was an odd time for me. I was on the cusp of carefree student (and job-seeking) years and starting my first proper job with the looming prospect of mortgages and pension arrangements. While all this is going on, a wave of American Indie and Grunge bands were setting the musical pace. The likes of Nirvana, Smashing Pumpkins, The Pixies and, featured also on this record, The Meat Puppets all kind of passed me by really. It was probably the first time that I was a tad too old for the contemporary rock music of the day, and I did regard it a little as self-pitying nonsense. Also, if I wanted crunchy, wall of sound guitars and feedback, I could satisfy myself with the much more credible (to my mind) Neil Young. So I have no real emotional attachment to Curt Cobain, who is truly the James Dean of rock due to the brevity and quality of his legacy.
Anyway, it means I come to this about as fresh as it is possible to be. Of course I know Nirvana's core of songs but this reveals Cobain to be a much deeper and more engaging talent than a superficial interest will suggest. Mind you, I do find it hard to really see why Dave Grohl has managed to become some kind of rock everyman in the intervening 25 years since this was recorded. The opening song is 'About A Girl' from the debut Bleach album, and well, it's about as good an early Beatles pastiche as you're ever likely to hear.
He makes the most of the unplugged idea and you do feel like he's wiping all the slathered-on grease and grime away from some of these songs, such as 'Come As You Are'. However he doesn't try to use it to deconstruct 'Smells Like Teen Spirit'. It is ignored and left alone to stand as it is. Unimproved because it is unimprovable, if only Clapton had realized the same about Layla.
Cobain's cover version choices are great too. 'The Man Who Sold The World' convinces you it is his own song and he turns The Vaselines' 'Jesus Doesn't Want Me For A Sunbeam' into something resembling a traditional folk song. He finishes with a Leadbelly song, 'Where Did You Sleep Last Night' proving that it really is all just the Blues at the end of the day.
Band Bantz: Cobain is convinced he's going to make a cock-up of The Man Who Sold The World and helpfully informs the ignoramuses in the studio that it is a David Bowie song.
Heckles and Coughs: Do guest stars Cris and Curt Kirkwood of the Meat Puppets count for this bit? In the absence of anything significant from the plebs they'll have to do. They introduce themselves as Seussian Things One and Two.
Next Track Off The Rank: Alive by Pearl Jam. About the only contemporary grunge band whose album I purchased.
STOREFRONT HITCHCOCK
Released: 27th October 1998
Robyn Hitchcock
I can't be certain who suggested I added this to the list but I suspect it might have been a wise man (geddit? Maybe one or two will). Anyway, I'm grateful. Robyn Hitchcock was little more than a name I was aware of before this. I might have thought he was a kind of heavy rocker, or possibly something more whimsical in the Jonathan Richman mould. The latter is probably closer, but I really wasn't expecting a weird, stream of consciousness journey into the surreal and macabre.
This has something firmly in common with Talking Heads 'Stop Making Sense', in that it is a soundtrack to a Jonathan Demme movie. The concept being a Hitchcock live performance in a New York store window. I haven't watched the film, although that is rapidly becoming a more common occurrence for me these days, because it is quite hard to come by, but YouTube has plenty of clips, so here's a taste.
If you watch this, and don't know Hitchcock then you can probably hear that his vocal style lies somewhere between the flattened vowels of Mick Jagger and the nasal whine of Liam Gallagher. He's a decent guitarist too, some of the intricacy would make Richard Thompson proud ('I'm Only You' has some Thompson-esque diversions), and they're catchy songs too. He introduces 'Let's Go Thundering' by not introducing it, explaining that songs should speak for themselves and not be named in advance. He proves his point as well. It's a bit of an earworm, but you'd be hard-pressed to interpret it either in advance, during or after it's finished.
Then there's The Yip! Song, which might justify my Richman comparison, cos it has something of 'Roadrunner' about it. Also, I refer you back to my musings on the inclusion of cattle-disease brucellosis in Warren Zevon's 'Play It All Night Long', Hitchcock throws in 'septicaemia' in this one. Diseases are always a good bet in the single-lyrical-mention-ever game.
He only strays from his own material once, with a reasonably straight cover of Hendrix's 'The Wind Cries Mary'.
Band Bantz: Oh God. There's so much. Hitchcock's musings between songs are tracks in their own right. It could be tightly scripted or he might be making it up as he goes along, but he touches on exploding spleens, people as nuclear bombs, retort stands, minotaurs and coffee. Much of it seems to be John Carpenter inspired body horror.
Heckles and Coughs: The only thing that stood out for me was audience approval when he asserts that he believes in God and is a spiritual person (oh dear) but disapproves of religion because it is the politicization of spirituality and is therefore 'perilously close to pornography'. Now for my part he's lost me a bit here and it's the one moment when I suspect that he's coming perilously close to simply spouting utter bollocks all the way through.
Next Track Off The Rank: Summer's Cauldron by XTC
MTV UNPLUGGED
Recorded:21st April 1993
10,000 Maniacs
Another week in the 90's live albums and another MTV Unplugged. This is quite heavily reliant on their previous three albums-proper, the breakthrough In My Tribe, the sometimes-challenging Blind Man's Zoo and, to a lesser extent the latest, at the time, Our Time In Eden. For an Unplugged offering, there is some difficulty in seeing the point of the gimmick. These songs are pretty faithful to the album versions, 10,000 Maniacs, despite their name, are hardly heavy-rockin', amp-ed up speed fiends.
Which is a long-winded way of saying that this captures 10,000 Maniacs pretty much perfectly. I'll probably go through the entire back catalogue eventually, but there are so many bands and so little time. I'll focus on my personal favourites from this performance, which are the ones you'd probably expect if you know their work - 'Like The Weather', 'What's The Matter Here', 'Eat For Two' and 'Trouble Me'.
Let's start with 'What's The Matter Here', a child abuse song that perhaps shares some commonality with Suzanne Vega's 'Luka'. I have a slight problem with it, which is Merchant's seeming ambiguity about, well, actually doing something about the abuse she's witnessing. "I'm tired of the excuses, everybody uses; He's your kid, do as you see fit". I think she's just saying "I'm tired of hearing this and it's not acceptable", or is she just, at the end of the day, stepping back and letting it happen with a shrug of the shoulders? Anyway, what I do like about it is that it is direct and tells a clear and detailed story within the structure of a 5 minute song.
'Like The Weather' always seemed to me to be fairly light and inconsequential, which means I've probably never listened to it properly beyond the light bright melody before, so this time I concentrated. Oh yeh, it's about the debilitating effect of depression stopping you from functioning through day-to-day life. She's a clever one that Natalie Merchant, perhaps a bit too clever if the meaning is getting lost in the perfection of the music.
'Eat For Two' is dark, dark, dark. But it's an unwanted pregnancy song, so she's hardly going to stick a whistling solo in the middle-eight is she? By the end of it she's struggling to breathe with the stress and despair of the baby inside her. I think it might be their most powerful song, at least of the ones I know.
And 'Trouble Me' is a song I love. A simple statement of "I'm here for you" from a friend to someone struggling to cope. It's got a great structure with an impatience at the start of each verse, as if Merchant can't stop herself from offering a shoulder to cry on.
The real selling point of this album for me at the time was the inclusion of a performance of 'Because The Night'. Does she pull it off? I'm not so sure, it's one of Bruce's best and I'm used to extremely muscular live performances of it from him. Patti Smith was quite abrasive with it too. For me Merchant smooths out the rough edges a bit too much, but by no means ruins it, that would be impossible.
Band Bantz: Not sure if it really counts as Band Bantz, but in doing this I at least finally looked into the spoken part at the start of 'Gold Rush Brides'. You can tell from the tone that it is a text which is contemporaneous to the setting of the song. It comes from 'Women's Diaries Of The Westward Journey' by Lillian Schlissel. Merchant must have included just for this performance I guess (or possibly used it every time they performed it), since it seems to not be part of the album version of the song.
Heckles And Coughs: The problem with the Unplugged series is that the audience have a much better opportunity to impose themselves on the performance, which usually reveals them to be the types who want to demonstrate how into the band they are. Here there are only a couple of minor infractions
Next Track Off The Rank: Sister Europe by the Psychedelic Furs. I just don't see it.
These Are The Days
Eat For Two
Candy Everybody Wants
I'm Not The Man
Don't Talk
Hey Jack Kerouac
What's The Matter Here
Gold Rush Brides
Like The Weather
Trouble Me
Jezebel
Because The Night
Stockton Gala Days
Noah's Dove
Recorded: 18th November 1993
Nirvana
The early nineties was an odd time for me. I was on the cusp of carefree student (and job-seeking) years and starting my first proper job with the looming prospect of mortgages and pension arrangements. While all this is going on, a wave of American Indie and Grunge bands were setting the musical pace. The likes of Nirvana, Smashing Pumpkins, The Pixies and, featured also on this record, The Meat Puppets all kind of passed me by really. It was probably the first time that I was a tad too old for the contemporary rock music of the day, and I did regard it a little as self-pitying nonsense. Also, if I wanted crunchy, wall of sound guitars and feedback, I could satisfy myself with the much more credible (to my mind) Neil Young. So I have no real emotional attachment to Curt Cobain, who is truly the James Dean of rock due to the brevity and quality of his legacy.
Anyway, it means I come to this about as fresh as it is possible to be. Of course I know Nirvana's core of songs but this reveals Cobain to be a much deeper and more engaging talent than a superficial interest will suggest. Mind you, I do find it hard to really see why Dave Grohl has managed to become some kind of rock everyman in the intervening 25 years since this was recorded. The opening song is 'About A Girl' from the debut Bleach album, and well, it's about as good an early Beatles pastiche as you're ever likely to hear.
He makes the most of the unplugged idea and you do feel like he's wiping all the slathered-on grease and grime away from some of these songs, such as 'Come As You Are'. However he doesn't try to use it to deconstruct 'Smells Like Teen Spirit'. It is ignored and left alone to stand as it is. Unimproved because it is unimprovable, if only Clapton had realized the same about Layla.
Cobain's cover version choices are great too. 'The Man Who Sold The World' convinces you it is his own song and he turns The Vaselines' 'Jesus Doesn't Want Me For A Sunbeam' into something resembling a traditional folk song. He finishes with a Leadbelly song, 'Where Did You Sleep Last Night' proving that it really is all just the Blues at the end of the day.
Band Bantz: Cobain is convinced he's going to make a cock-up of The Man Who Sold The World and helpfully informs the ignoramuses in the studio that it is a David Bowie song.
Heckles and Coughs: Do guest stars Cris and Curt Kirkwood of the Meat Puppets count for this bit? In the absence of anything significant from the plebs they'll have to do. They introduce themselves as Seussian Things One and Two.
Next Track Off The Rank: Alive by Pearl Jam. About the only contemporary grunge band whose album I purchased.
About A Girl
Come As You Are
Jesus Doesn't Want Me For A Sunbeam
The Man Who Sold The World
Pennyroyal Tea
Dumb
Polly
On A Plain
Something In The Way
Plateau
Oh Me
Lake Of Fire
All Apologies
Where Did You Sleep Last Night?
Released: 27th October 1998
Robyn Hitchcock
I can't be certain who suggested I added this to the list but I suspect it might have been a wise man (geddit? Maybe one or two will). Anyway, I'm grateful. Robyn Hitchcock was little more than a name I was aware of before this. I might have thought he was a kind of heavy rocker, or possibly something more whimsical in the Jonathan Richman mould. The latter is probably closer, but I really wasn't expecting a weird, stream of consciousness journey into the surreal and macabre.
This has something firmly in common with Talking Heads 'Stop Making Sense', in that it is a soundtrack to a Jonathan Demme movie. The concept being a Hitchcock live performance in a New York store window. I haven't watched the film, although that is rapidly becoming a more common occurrence for me these days, because it is quite hard to come by, but YouTube has plenty of clips, so here's a taste.
Then there's The Yip! Song, which might justify my Richman comparison, cos it has something of 'Roadrunner' about it. Also, I refer you back to my musings on the inclusion of cattle-disease brucellosis in Warren Zevon's 'Play It All Night Long', Hitchcock throws in 'septicaemia' in this one. Diseases are always a good bet in the single-lyrical-mention-ever game.
He only strays from his own material once, with a reasonably straight cover of Hendrix's 'The Wind Cries Mary'.
Band Bantz: Oh God. There's so much. Hitchcock's musings between songs are tracks in their own right. It could be tightly scripted or he might be making it up as he goes along, but he touches on exploding spleens, people as nuclear bombs, retort stands, minotaurs and coffee. Much of it seems to be John Carpenter inspired body horror.
Heckles and Coughs: The only thing that stood out for me was audience approval when he asserts that he believes in God and is a spiritual person (oh dear) but disapproves of religion because it is the politicization of spirituality and is therefore 'perilously close to pornography'. Now for my part he's lost me a bit here and it's the one moment when I suspect that he's coming perilously close to simply spouting utter bollocks all the way through.
Next Track Off The Rank: Summer's Cauldron by XTC
1974
Spleen Rap
Let's Go Thundering
Carcasses Rap
I'm Only You
Glass Hotel
Minotaur Rap
I Something You
Problem With Physics Rap
The Yip! Song
Electric Coffee Rap
Freeze
Minneapolis Rap
Alright, Yeah
Where Do You Go When You Die?
The Wind Cries Mary
No, I Don't Remember Guildford
TS Eliot Rap
Beautiful Queen
Dinner Conversation