Wednesday, 21 March 2018

I Don't Hear A Single Radio Show Episode 38

Howdy doody all! I'm back after an extended break and lots to catch up on, particularly review wise. This week's Radio Show is already winging it's way to KOR and look out for announcement over the weekend about a new additional fortnightly two hour show that will feature more archive tracks with interviews and sessions etc.

Details will appear on here after a spate of reviews that are to be posted in the next few days. This week's show is a cracker. After the repeat last week, it's left a surplus of great stuff and it has been really hard getting it down to an hour. So just one Archive track this week amongst the 18 songs.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the other thirty seven shows and two Xmas Specials here.

Here's this week's playlist :

01 Albert Hammond Jr. - Far Away Truths
02 Caper Clowns - The Way I Dream
03 New Sincerity Works - Wonder Lust
04 The Orange Peels - Running Away (Mountain Towns Version)
05 The Noise Figures - Strange Medium Child
06 Belinda Carlisle - California
07 The BellRays - Brand New Day
08 The Magic Gang - All This Way
09 Eric Harrison - Millionaires
10 Beaulieu Porch - Simeon Touches The Ground
11 High Up - Your System Failed You
12 Brian Lisik And The Unfortunates - Hey Zelienople
13 Alfa 9 - Different Corner
14 Victims Of The New Math - Paul Knows The Way
15 Big Eyes - Alls I Know
16 Three Man Cannon - Sun Poison
17 Goodbye Nova - California
18 The Amazing - Asleep

Thursday, 8 March 2018

I Don't Hear A Single Radio Show Episode 37

Number 37 has just been completed. It's a cracker, a little bit psychy at times. A great instrumental opener that is slightly different to what I normally kick things off with. Two Archive songs. The Orange version of Judy Under The Rainbow remains in my Top 10 songs ever, although I know Rick Corcoran himself, prefers the Orgone Box version.

Look out for next week's show, it will have chatty song intros, something a few have asked for. The 2 hour show coming in the near future will be far more focussed on chat, we'll see what people think of next week's. I'm not fully convinced. I only have an hour and intros will mean at least one song less.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty six shows and two Xmas Specials here.

Here's this week's playlist :

01 Wess Meets West - Skylar There's Rot
02 The Filthy Souls - I'm Gonna Take You To My Show
03 Orange - Judy Over The Rainbow
04 Barely Civil - Lost // Found
05 Hurry - Read Between The Lines
06 Nick Batterham - Nothing Lasts
07 Lord High Admirals - Who Killed Kentucky
08 Farrah - Do You Ever Think Of Me
09 Tax The Heat - Change Your Position
10 Desario - Down Among Them
11 Chimpanbee - Fell In Love
12 Phil Reynolds And The Big Day Out - When It Hits
13 Ponctuation - Fleur
14 Papa Satch - Soulful Intent
15 Spielbergs -  We Are All Going To Die
16 Shannon And The Clams - Love Strike
17 Scrambled Limbs - Plasterboard

Sunday, 4 March 2018

Mick Dillingham Interviews : Mothboxer

I'm delighted to welcome the return of Mick Dillingham to our little corner of the world wide web. People remark about my taste, well I bow to the masterful way, Mick picks the old and new from out of the ether.

Mothboxer are one of those bands that you hope will breakout. Similarly to Spygenius and Captain Wilberforce, Dave Ody's excellence should be admired by the world. I often bemoan the lack of truly great Guitar Pop coming from out of the UK, there are certain exceptions and we should celebrate them. 

Mick Interviews Dave Ody about his career and as you listen to some of the back catalogue, you will hear what you are missing. Mothboxer should no longer be our little secret.

What an utterly glorious band Mothboxer are. Centred around the prestigious talents of Dave Ody, they have spent the last ten years recording five virtually faultless, albums and three EPs of such quality and grace. These adventures effortlessly propel them right up there into the highest echelons of modern day classic combos alongside the beloved likes of The Luck of Eden Hall and Pugwash.

Entering the spellbinding musical world of Mothboxer you cannot help but be helplessly dazzled by the winning songs swathed in beautifully crafted, inventive playing and multilayered production values that are second to none on the listening pleasure scale.  Musically they dwell in that most cherished garden of delights, yes its all our favourite P’s: Power Pop, Psychedelia and Progressive.

While the influences are there to notice on first play it isn’t too long at all before they fall away from the consciousness leaving only the unmistakable individual sound of Mothboxer to delight in. This is the hallmark of true talent and it’s a wonder to behold.

The past decade or so as home recording equipment has grown to rival the sound delivered by a professional recording studio, there’s been a quiet revolution in creativity unhindered by record company meddling and the constraint of budgets.  A joyous artistic autonomy of creative freedom that at its finest can be cherished both by the artist and the listener in equal measure.

What you get in such circumstances is not some corporate money men’s often arbitrary idea of what an artist should sound like but instead the true sound of what the artist themselves think they should sound like. Obviously the artist is not always right, the third Semisonic album springs to mind, but when they are right, as is the case here, then just sit back and watch the majesty unfold.

Anyway I think I’ve drowned you all in enough superlatives for one day and anyway half and hour or so spent listening to their output on Bandcamp will effortlessly show you that each and every gushing word is well deserved. But enough of my thoughts, let us, gentle reader, get on with the business at hand which is sitting down with the esteemed Mr. Ody to find out the story so far.

What are your earliest memories of first getting into music?

Most of my early memories have music associated with them. I distinctly remember hearing David Bowie’s Jean Genie on the little kitchen radio my parents used to have. I must have been about two to three years old.. There was always music on in the house, either The Beatles or The Beach Boys with a bit of The Kinks for good measure.  I remember trawling through my parents record collection around the age of six and discovering Revolver for the first time.  To this day, Tomorrow Never Knows is, as far as I’m concerned, the most impressive three minutes of audio production there is and is probably what planted the seed for my interest in production.

In fact, from about that time onward, I remember figuring out that if I held down the record button on my music centre tape deck half way it would record at half speed or even slower. I also discovered that if you plug headphones into a microphone jack they would become a basic microphone… try it! Somewhere there are cassette tapes with these “experiments” on them.

Which music artists first made you sit up and take notice?

I suppose it would have to be The Beatles and The Beach Boys. My Mum was very into Fifties Rock n Roll too, which was the music of her youth, so I remember being very impressed as a small child with artists like Fats Domino, Little Richard and Elvis among others. It was obvious even as a kid that these guys did something that changed music forever and the bands in the sixties and seventies and beyond owe them a huge debt of gratitude.

I still discover artists that make me sit up and listen which is great. I know a lot of people who have an “era”. Usually the music that was around in their formative years and have great difficulty looking beyond that but there’s still SO much great music out there.  Mainstream TV, radio and press do just not cover it as they’re forced to play it safe and are unlikely to take a risk. Same story with labels and publishers. I get it, it’s all about return on investment, sadly.

Stuff from the last couple of decades that has had the same goosebump effect on me as music I heard as a child include Fleet Foxes, Grandaddy, Jaguar Ma, and Field Music.  Particularly, there's a cult English band who’ve been around since the late seventies, Cardiacs, who had an enormous effect on me as they are totally original. If you don’t know about them, you’re missing something special, although be warned, they are very, very unusual at times!

When did you start playing an instrument?

I remember having a Bontempi organ when I was again, around five or six. When you switched it on it sounded like a broken vacuum cleaner or some kind of industrial machine! It sounded horrible but I worked out basic chords and musical intervals on it. I had a Beatles chord book that I got one Birthday or Christmas from my parents, one of the greatest presents I ever received, it had notation of every Beatles song which I couldn’t read, still can’t to this day.

But usefully, it had the chords listed above the notation so I learnt from there. I progressed (regressed?) to guitar around the age of fourteen or fifteen after re-stringing my Dad’s electric guitar to left handed, I am right handed but for some reason play the guitar left handed… just makes more musical sense to me.

When did you start writing songs?

I started attempting to write songs around the time I was learning guitar. None of them had any merit whatsoever….what can a fifteen year old really write about in all honesty!  The first song I wrote where I thought.. “ah, that’s not too bad” was a song called “Help Me Out Now” which was lyrically diabolical but musically had enough going for it for me to carry on writing and improving my skills.

Were you in any early bands?

Yes indeed. My first band was at school. It was called “Concrete Tonsils” and was about as good as the name suggests.  We played covers and not very good ones at that, but you have to start somewhere and we were having a good time! In fact, two of the members of that band are still very dear friends and in fact, the drummer Phil Davies plays on many of the earlier Mothboxer tracks.

Tell us about some of your previous recording projects prior to Mothboxer, Kid Galahad and The Furze

So, post “Tonsils”(classic, musical differences split obviously.) I met local bassist Paul Seaman. We had loads of favourite bands in common and we enjoyed jamming over Hendrix and Cream covers! Writing wise, we were both finding our feet and a few line-ups later we had the first iteration of the band that became Kid Galahad.

KG was the first band I was a member of where we all wanted to do it seriously and we chased the elusive record deal. When we were good, we were very good, if a bit musically all over the place. We never had a solid musical direction and that was ultimately our downfall, but it was fun while it lasted.

In fact, we achieved quite a bit looking back. We had NME single of the week, a few primetime Radio One plays and some MTV2 heavy rotation. We also supported some pretty hefty bands at the time, Supergrass, Kaiser Chiefs first iteration “Parva” and on our first US visit we supported the legendary Elliott Smith at the Silver Lake lounge in LA. It was the first time I was starstruck, sitting in the same dressing room as him and his entourage while he jammed through Beatles White Album tracks. Amazing and sorely missed legend of a man.

When, inevitably our deal expired as Kid Galahad in 2004 we re-thought it all.  After self releasing a few EP’s and singles as Kid Galahad we decided, stupidly as it turned out, to change the name to The Furze, a reference to the senior school three out of four of us attended in Furze Platt. When it didn’t really happen again for us, the band kind of naturally went into hiatus in 2006.

How did the Geen album come together?

By the time of Kid Galahad, Paul and myself had become pretty prolific and accomplished songwriters and along with singer Ash Bull, who contributed many of the lyrics and drummer Dave Strows we had a tight unit.  This meant I’d built up a huge catalogue of songs from the late nineties all the way up to 2007. Most were for and used by KG but there was a collection of tracks, particularly around the time of the band’s dissolution that sounded like an album waiting to happen.

I was becoming more confident in the studio and as technology became more and more advanced and accessible, I was teaching myself modern music production and it became “my thing”. I enlisted the help of a local friend and label owner Bob Barker of LineOut Records and he kindly agreed to release Geen on his label. It got some pretty good reviews and a fair bit of local radio and internet play so I was encouraged enough to continue. It does still sound like a collection of demo’s but that’s it’s charm I suppose.

You then put together a live band, who were the other members and how did you enjoy playing live?

The live band came about after a lunchtime pint and chat with Bob. I had Phil Davies in mind as drummer and I was working with and producing a local musician and songwriter, Robbie Burley a.k.a. Finchey who was an obvious choice to be involved on guitar and vocal duties. I asked Paul initially to join on bass but for one reason or another it didn’t pan out, so we enlisted bassist Jon Hawes from Phil’s previous band Mother Black Cap.

As a live act, Mothboxer only played about five or six gigs. Mostly in and around London with the exception of 2013 when we played the prestigious IPO festival at the Cavern in Liverpool. That was a great gig but ultimately, it was getting harder and harder logistically and financially to keep playing live. It felt like I was starting from scratch and being older and having responsibilities like being a Dad and trying to hold down a day job, something had to give.

Add to that the fact that I always suffered horribly with stage fright, it was an obvious decision to stop gigging. I am quite often asked if Mothboxer will ever play live in some form or other again and I usually say something like “you never know”. That’s still the case. I like to keep my options open but there’s no plans currently.

Weirdly though, there is a Kid Galahad one off reunion at PennFest this July in the UK, which will be the first time that line up has been on stage in about twelve years.  I better start re-learning that material. This news has just been confirmed, so you have an exclusive here. We’re on Friday July 20th, one of the main stage supports, stage time still to be announced.

Tell us about the first album proper.

Yes, back to Mothboxer… As a kind of follow on from Geen, in 2009 I booked our local studio for a full day to record the drum tracks for what would become “Mothboxer”. By this stage I had loads of new material so as well as re working some of the Geen tracks to include live drums and a somewhat improved production, the album ended up being a mammoth fourteen tracks. This album was totally self released, as are all the Mothboxer albums to date and the response was encouraging getting favourable reviews as well as local BBC radio exposure.

Frequency followed in 2011 and was very much a studio based project. For me, it was more of a production learning album. so I took more of an electronic approach and it was all done “in the box”. It does still have one of my favourite Mothboxer tracks on it though, namely “Somehow, Somewhere”

2012’s Three was the first album where I felt I’d nailed the production. It was also the album that I’d had more time to work on as like a lot of people around the time of the financial crisis, I’d just been made redundant from my day job. Not ideal financially but it made me focus on music to stop myself going totally off the rails.

This is also the album that gave Mothboxer wider exposure, particularly in the US, thanks to endorsements from Power Pop luminaries like David Bash who named Three as his number one album for the year which was such a great accolade to receive.

After Three was so well received, Sand And The Rain came very quickly. I wanted to get back to a more concise pop record, it’s just 10 tracks. Again, very positive reviews for this one which was lovely.

It also contains another track that I really enjoyed writing and recording  “In The Morning”. There’s also the inclusion of a debut album outtake called “Everything’s Changed” recorded in 2009, which had sat on a hard drive for four years gathering dust.  Amazing what you forget about.

You also have three EP releases. What makes you decide to do an EP rather than save the songs for an album?

I think it boils down to the fact that sometimes I have songs that either don’t fit in with an album but are too good to discard. Or more usually, I’ll write a few songs that I’m really happy with and just want to get it out there as it’s own thing.

So onto the new album The Secret Art Of Saying Nothing

I think this album contains some of the best material I’ve released under the Mothboxer name. It was a tricky one to write and record though as it was all a bit disjointed. I had a lot of stuff going on during the writing and recording, a busy day job involving a fair bit of travel, amongst other things. So considering that, it turned out pretty good.

How was the recording process?

To go into a little more detail, it was no different really to the previous albums. I tend to get ideas pretty quickly once I latch onto something I like, a melody or a chord sequence and a lot of songs are written and the basic tracks recorded in the same process.

For this record I wanted a back to basics sounding band record even though a lot of it was recorded in the box. In fact, as a whole it’s Mothboxer’s heaviest record to date. I’m pretty happy with my studio setup now so the workflow is a lot more fluid than it was even three or four years ago. I’m a huge technology geek so as far as production is concerned I’m always learning how to use new plugins and software and always trying to hone my skills not only as a writer but as a producer.

The producer hat is something I’ve been wearing for a while now and while I was working on Secret Art, I was also working on two other projects. Firstly for upcoming artist Patrick Martyn, the best singer songwriter I’ve heard since Elliott Smith and also Finchey’s second album, both of which are quite stunning in their current state and they’re not even finished.  Both of these will be out this year if all goes to plan.

How happy are you with the finished album?

Very happy with it to be honest, as I mentioned earlier, it was a strange period but it all came out well in the end! I think it flows pretty well as an album, not that people really listen to albums in order anymore, shame really…

Were there songs you didn’t use?

Only a couple of things as I recall. They had a few promising moments, but didn’t end up making it to a “song” as such. I had enough tracks that made sense as a cohesive whole already. I’m sure some elements of them will end up on the next record though.

What are your favourites on the record?

I keep going back to “Right Time To Say Goodnight”. I’m happy with the feel of it and also lyrically, so that’s a favourite. I also really like “Way We’re Gonna Live Tonight” which closes the album. It’s a bit of a rousing chorus that one.

How does the song writing process work with you?

Wow.. Big question. So usually, I’ll be playing around with a chord sequence on the keyboard, trying out a new sound on a synth plugin or even just jamming a few chords on the guitar and more often than not, something starts to form as a verse or chorus. Then it’s just a question of building it out into a song structure.

That’s not to say it happens like that all the time. There’s many occasions where I pick up the guitar with the intention of writing something and literally nothing decent appears but thankfully those moments are still few and far between.

Are you slow or prolific?

I suppose because I dedicate a lot of time to music I’m pretty prolific. Having said that, there was a long gap between Sand And The Rain and Secret Art, nearly two years, but I suppose the workaholic side of me decides that working on at least three projects simultaneously is just fine and not in anyway impacting on my mental health.

What would you say were your biggest influences?

There’s probably two threads to this answer:

Musically, I have influences that are very different and not all of them reflect necessarily in the music I release. Obviously The Beatles are ingrained in my DNA, as are The Beach Boys, especially the Pet Sounds, Smile era naturally. But I also listen to some fairly obscure stuff too. I mentioned Cardiacs earlier. Leader Tim Smith is one of very few artists I would describe as a genius. Speaking of geniuses, Frank Zappa also had a huge affect on me and I suppose in some of the Mothboxer madder moments his influence is noticeable.

Secondly, I’m influenced by people. Friends and family particularly. My daughter has a huge influence on me as a person and therefore there’s a lot of her influence in what I do.

How’s the feedback to the album been so far?

Very good so far, thankfully. Some blog reviews have described it as the best album yet which is so nice to hear. It validates the work that goes into creating the records and keeps me keen to release stuff that I would want to hear.

I think that’s the key to writing and producing music. I could try and second guess what would “hit” for want of a better word but ultimately I would be chasing my tail and never get anything done.

I’ve seen this happen first hand where very talented writers continue to tweak and change things to sound like stuff that’s popular and going viral but they always end up two steps behind. It’s far better to stick to your guns and create stuff that you yourself would buy/download/steal. Whatever it is that people do nowadays!..............................................

You can listen to and buy any or all of the Mothboxer albums here. The latest album, The Secret Art Of Saying Nothing is a wonderful affair and a bargain at £5. It was in my Top 10 albums of 2017. I've chosen the song selections here, but there are others that Dave suggests. I would say that Mothboxer albums are essentially best from start to finish, there is obviously a lot of thought that goes into the track order.

Saturday, 3 March 2018

The Beach Blanket Fort Bingo Podcast

It's good to be back and there's a lot of stuff to come after my break as you'll see over coming days. Can I just take a minute to let you know about a splendid podcast that started it's adventure this week?

Many of you may know Stephen Schnee from Discussions Magazine and the But Is It Power Pop? Broadcasts and Forum on Facebook. I'm delighted that he has been encouraged to branch out with The Beach Blanket Fort Bingo Podcast.

It's a heady mix of music, interviews and chat that will interest all. The first episode is a specially extended episode that includes interviews with Jeff Murphy from Power Pop Gods, Shoes and Mike Baron, Comic Book Supremo and Music Reviewer.

There's also some great songs and a special acoustic performance from Adam Marsland. Most importantly, you can hear my dulcet tones as part of the regular Round Table Discussion that will appear in each episode.

We discuss Music Streaming here and with Stephen and I are John Borack, Mike Lidskin, Victor Erwin, Brad Beard, Rex Broome and Christina Bulbenko.

You can listen to or download the podcast on Buzzsprout or iTunes. You can also subscribe to future episodes at both. There is also a dedicated Public Facebook Group here. It's a great way to spend an hour or so being entertained. Well worth you joining the listeners.

Thursday, 1 March 2018

I Don't Hear A Single Radio Show Episode 36

We reach the round 3 dozen tomorrow night and there's plenty here to enjoy.

I'm back in action and can feed myself now without a bib, allegedly. I can even tie my own shoelaces. Reviews are back from Saturday and there are plenty of them to come.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty four shows and two Xmas Specials here.

Here's this week's playlist :

01 The Skids - Animation
02 The Young Hearts - Bloom
03 Anton Barbeau - Magazine Street
04 The Temperance Movement - Caught In The Middle
05 Elk City - 25 Lines
06 Augie March - The Long Wait And See
07 The Rationales - Ready To Go
08 The Regrettes - Red Light
09 Alisha's Attic - The House That We Built
10 Martin Gordon - Political Correctness
11 Chris Church - Something Completely
12 Ken Sharp - Utopia (feat. Fernando Perdomo & Rob Bonfiglio)
13 The 286 - Time Immemorial
14 The Earthmen - Figure 8
15 They Might Be Giants - By The Time You Get This
16 Milestones - Once Upon A Time
17 The Osiris Club - Ringing The Changes

Monday, 26 February 2018

Be Back Soon

Apologies for the delay in posting new reviews. This is simply due to illness and I will be back in full swing at some stage this week. I remain contactable in all the usual ways, including Carrier Pigeon and via Bow And Arrow.

Thursday, 22 February 2018

I Don't Hear A Single Radio Show Episode 35

Reviews are way behind because I'm still under the weather, but I'm over the moon with this week's show. I'm also apparently mixing metaphors like a journalist for The Express. Number 35 is so good that I've made a crib sheet to celebrate it. Number 5 - I'm Hearing You.

17 Top Tunes including two archive songs. Those two songs are an underated gem from UK New Wave and my favourite Joe Pernice song. The rest is largely new and out the wrapper. The show closes with The Foreign Films and the pop masterpiece that is Fall Of The Summer Heart.

Proving IDHAS is the home of the three minute pop song, the closer is almost 13 minutes of wonder. Apparently Guitar Bands are dead according to Matt Twiddly, I'd worry more about the godawful compressed production Matt.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty four shows and two Xmas Specials here.

Here's this week's playlist :

01 The Headboys - The Shape Of Things To Come
02 Lannie Flowers - Dayglow All Night
03 Afterpartees - Call Out Your Name
04 Diamond Hands - Now Or Never
05 Cinderpop - Yokohama
06 P76 - Northern Gaze
07 Emperor Penguin - Moth, Meet Flame
08 Mickelson - No Such Luck
09 Joe Pernice - Jimmy Coma
10 Brave New World - Penelope Freelove
11 Chris Church - Joke
12 The Obleeks - After The Sunrise
13 Mothboxer - Place I Go
14 Et Tu Brucé - The Light
15 The Whips - Fire In The Mist
16 The Crooked - Tarot Cards
17 The Foreign Films - Fall Of The Summer Heart

Thursday, 15 February 2018

I Don't Hear A Single Radio Show Episode 34

Number 34 in our pop and rocktastic world.

A heady mix of 17 toe tapping tunes, including two from the archive.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty three shows and two Xmas Specials here.

Here's this week's playlist :

01 Tim Christensen - Secrets On Parade
02 Spygenius - And Her Snakes Were Decked With Smiles
03 The Foreign Films - The Sun Will Shine Again
04 The XCERTS - Daydream
05 Hussey - Oxford
06 The Creachies - Not Never And
07 The Wake Woods - Blow Up Your Radio
08 The Junior League - I Only Want to Begin Again
09 Louise Connell - 10 Feet Tall
10 Chris Richards & The Subtractions - Someone To Pull The Trigger
11 Make Out Monday - Party On The Weekend
12 Ross - I Never Wanted To Be a Star
13 Dogs Die In Hot Cars - Lounger
14 Crime Scene - God Only Knows Why
15 Go-Kart Mozart - Farewell To Tarzan Harvey
16 Wade Jackson - What Am I Supposed To Do
17 Spygenius - Ill-Fitting Suit

Friday, 9 February 2018

Various - Altered Sweet : A Tribute To Matthew Sweet (2CD)

I think most know that I'm not a Tribute album lover, they have to be really really good to perk my interest and this more than does that. I'm a massive Matthew Sweet fan, a big admirer of what Keith does with the Futureman label and the line up here is Power Pop Heaven. So that's three reasons to buy eh?

Matthew Sweet, himself, may have been in indifferent form lately, but here you get an inkling of how strong a songwriter he is. Although not always looked at as Power Pop, he's a bit noisier at times, these songs naturally lend themselves to the field. Great guitar breaks and he's one of the best chorus writers around.

I used to say that the ideal match would be Jason Falkner and Sweet, the former writing the verses, the latter the choruses. You do realise here that Sweet's body of work easily allows 27 songs without any boredom creeping in. There's a lot to be said for a third disc opportunity for the missing songs.

So where do I start? This is really hard because the line up is like a Roll Call for the I Don't Hear A Single Blog. I've already trailed a couple of songs on the different week's Radio Shows, namely Nick Piunti and Michael Simmons, so I'll not include those as embedded songs here.

There are some surprises in who does what. I expected Greg Pope to launch into something like Come To California, instead he goes for an inspired version of the understated Not When I Need It. Likewise, Andy Reed is usually understated, here he rocks into a superb, Where You Get Love.

Then there are the different takes on songs. Simple Friend do a great acoustic jangly Sick Of Myself, very different to the caustic original. Elvyn's Time Capsule is Losing My Religion like. Popdudes do a wonderful Country West Coast sounding I Almost Forgot.

There are the female artists who never fail to connect. Lisa Mychols a great Bass Guitar driven Susanna Hoffs like, Looking At The Sun. Gretchen's Wheel cover Walk Out, showcasing that Lindsay voice which sounds Chrissie McVie like here.

Also here are the more faithful versions. The Well Wishers riff out on All Over My Head, ditto Nick Bertling on a splendidly noisy, Falling. My favourite Matthew Sweet song is Someone To Pull The Trigger and Chris Richards And The Subtractions offer up a storming cover, an absolute joy.

If I could mention everyone I would, these are all artists beloved to IDHAS. I feel guilty for not, but every one of these 27 songs is worth hearing. Altered Sweet is a cracking listen. It reminds me of why Power Pop is so good. It's the quality of the artists, the songs and the pure feel good factor.

Here's hoping that people go further and delve into the songs from these artists and discover the joy that I get. Hopefully, people will also discover Matthew Sweet's Back Catalogue. It isn't just about Girlfriend.

Finally, artists don't always like the Power Pop Tag and outsiders don't get what it is. Concerning the latter, each should be given this album and they will realise what they are missing. You can listen to and buy the album here and it's a bargain price.

Slave To The Algorithm

So we've all been inundated with this nonsense over the past few days. If it's so true, then why have I seen it about 500 Times. However, there is something about the new Facebook Feed that is important if you want to support the artists you follow or discover.

I've always been a bit sniffy about Facebook, but it has to be said that I have met people that I would never have come across. The days of searching for a band on Google first are becoming a thing of the past. More and more, people get their information from Social Media.

There's no doubt that when I put an Album Review on Facebook that it drives people to the post and they listen, buy or investigate more. That's what IDHAS is about and long may it continue. I've often been asked why I don't set up a dedicated Facebook page to here. I did test that, but all Facebook wanted was money to promote it, so I felt a group page and my own would be enough.

This is where I get to the point. Facebook's changes that now prioritise individual friends' posts rather than companies may make people think that there timeline will be a much happier place. To some degree it will be, but caught in the middle of this are musicians trying to let you know what they are up to and they are caught in the headlights.

Facebook will prioritise individual account names. If you are a company or more importantly, a musician operating with a Facebook artist page, you will need to pay to promote your posts or people will not see them.

I get most responses from my personal page. It must be a right pain in the arse for people who don't like music seeing the activity. But when I "like" a band on Facebook, I find others do because they get notified that I have. The same happens on Twitter and again it may irritate some, but it is for the general good of music.

I've always been a bit sniffy about Facebook Likes. I saw them as a vanity thing and we know the number of friends does not necessarily equate to the popularity of a person, far from it. It just means you can market yourself.

I also get annoyed by Internet DJs and Bloggers who get cranky about people not following them back. On another point, I get more irritated by supposed tastemakers, a term I hate, who say post links to the songs in the comments. If you knew what you were doing, you'd know, you wouldn't need to be told.

But it has never been more important for you to like a musician's post from your personal account. They know they are reaching people, know they are loved, gives them encouragement in a difficult business and most importantly, others see the post.

As for me, I'm not particularly bothered by likes, it's about the message not the messenger.

Thursday, 8 February 2018

I Don't Hear A Single Radio Show Episode 33

More like normality this week, Reviews and great new releases.

IDHAS Radio Reaches the third of a century mark with 16 great songs for your delectation. Wait for news this month on a second radio show with chatting, more archive and stuff and nonsense.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty two shows and two Xmas Specials here.

Here's this week's playlist :

01 Sweet - The Six Teens
02 Linus Of Hollywood - At All
03 Michael Simmons - Heaven And Earth
04 The Academic - Television
05 Television Personalities - Beautiful Despair
06 The Ragamuffins - Something Sinister
07 The Move - The Girl Outside
08 Martin Gordon - God's Not Great
09 Cindy Lee Berryhill - Somebody's Angel
10 Kai Danzberg - What The F (Video Version)
11 Scott Gagner - Strawberry Hill
12 Jacuzzi Boys - Seventeen
13 Boo Hewerdine - Lights Out
14 Blank Pages - High Flyer
15 The Monochrome Set - Don't Wear That Look
16 Ward XVI - Toy Box

Wednesday, 7 February 2018

Tiny Little Houses - Idiot Proverbs

Caleb Karvountzis is becoming something of a spokesman for the Slacker Generation. Tiny Little Houses's debut album, Idiot Proverbs, builds on those previous EP's to ram home how pissed off this lost generation is with all the false promises.

The only surprise here for the first time listener here is that this quartet are from Melbourne, not Seattle or Philadelphia. Caleb's vocal whine reminds me a lot of another of my favourite albums, Sean MacDonald's Parasites And Kings.

At times there's a stream of consciousness to the lyrics, particularly on the likes of Nowhere, SA. Influences are all there, some may hear Weezer, others The Pixies. Short Hair has essences of Grunge until that Weezer Chorus. The lyrics may be down, but there's a cleverness to them that is similar in the 90's Art Rock bands, even the bright Popsters like The Sugarplastic.

The Fi is definitely Lo and the sentiments may not ring with all who see this crowd as happy to spend more time with a VR Headset On than on the street. However this doesn't mean Tiny Little Houses can't play, because they can and some.

This is a corking slice of ache, a cracking little listen that has me itching to hear what comes next. I love Idiot Proverbs. For those who are getting overloaded with the Jangle Pop coverage around at present, this is different and certainly a fulfilling listen.

You can buy the album everywhere.

Tuesday, 6 February 2018

The Ragamuffins - Cause Of Causes

To those who state that Liverpool and Manchester have lost their heart musically, everyone wants to be The Beatles or The Stone Roses, well you've never heard The Ragamuffins. The long awaited Cause Of Causes album is out now and it is everything it promised to be.

The single, Oxygen, lit up last year and that's here surrounded by songs that are very different. The socially adept lyrics of David Jaggs are long admired and they are in abundance here, particularly on the heartfelt opener, I Won't Weep, so good that it gets a reprise.

But it's not all about the state of the UK. There's still a lot of lyrics crammed in to songs, but whisper it softly, Jaggs has wrote a love song and it's a cracker. No soppiness here, Line Up The Stars is a  beautifully arranged moody masterpiece, almost film soundtrack like with a weeping Cinema Noir like instrumental break.

There are other surprising directions too. Run With Us is classic Ultravox, Komische Stadt is almost Krautrock, Put On A Brave Face reminds me of a moody version of The Motors. Black Desert is all driving drums, in fact the drum sound on the album is superb.

But don't think that the band have left behind their past, because there is plenty here to remind you of that. Something Sinister may start slowly, but it soon breaks out into Wylie Wah territory. The Last Rites is a keyboard driven cross between Dexys and Deacon Blue, desperately trying to break out into Northern Soul.

Drawn to The City is a Jazz shuffle that breaks out into a Harlem Shuffle. But away from that killer Oxygen single, the stand out is the title track. It's an epic 3 minutes 16 seconds, a slightly shouty Jaggs vocal works beautifully to the thumping drums and tinkling piano.

It's a big year for these parts with albums from this lot and The Mono LP's. The Ragamuffins have past their test. David Jaggs just charms everyone in his orbit with his enthusiasm, he's even become a honorary Californian with the Big Stir crowd.

Cause of Causes is exemplary. It shows how you can take chances and still produce a coherent exceptional album. It's only February, but this is already up there as a challenger to top the 2018 list.

You can listen to and buy the album here.

Daisy - Ornament And Crime

I keep blabbing on about the quality of Pop Rock coming from Scandinavia, shall we call it Scandipop, errrrrrrrr no. Daisy are from Turku in Finland and this, their fourth album, may very well be their best yet.

This is excellent laid back Pop Rock, beautifully played without fuss or the need to shout. Unlike of the Power Pop and Guitar that comes out of the region, Daisy specialise in the sort of Pop Rock that lit up the 70's.

Ornament and Crime is beautifully played and arranged, the guitar solos are great, but are only played when necessary. Two Of Us is very US West Coast, but the majority of the album is very much in UK Territory. Think Pilot, Jigsaw, Trickster, John Miles or a less bombastic City Boy or a bigger arranged Liverpool Express.

I played Little Love a few Radio Shows ago and the reaction was great. Well those that like that will love the album. It's a great laidback Summer gem and deserves it's place in your collection, because so few are doing this type of stuff now and even less, so well.

You can buy the album at the likes of Amazon here. It's also available on the likes of Apple and Spotify.

Mo Troper - Exposure And Response

I reviewed Mo Troper's debut solo album, Beloved, in Late 2016 and all it's lo-fi Glory here. In the review, I hoped that he would reach for the stars. Well with Exposure And Response he has and the results are extraordinarily good.

All the hooks are there, every song is a joy, but the arrangements are the step up. This is Power Pop Heaven. Across it's 15 songs there is a mixture of the short and the long. The short are generally unexpected and very different to the Pop that surrounds them.

I've seen Brian Wilson comparisons mentioned by reviewers, I don't see them at all to be honest. this in Mike Viola Pop Rock Territory. The bright string and brass arrangements only enhance that Viola feel, the whole thing is a joyful listen.

There's a real social commentary in the lyrics, but I suspect many will not go that deep, the hooks will be what grabs them. The hook is most prevalent in Freebin, a simple enough love song with jangling hooks shooting out of it's pores.

Dictator Out Of Work is equally great, especially it's almost Lounge like Brass and Posies like twang. Big School is the sort of song that Weezer used to do well, Tow Truck too. although there are hints of the likes of The Sugarplastic there too.

Your Brand is so cynical, but done in such a sweet way that it's hard for even the Marketing Gurus to get irritated. It's a beautifully arranged stomp. Maybe the best song on the album. But it's hard to choose. 15 songs in 30 minutes that just race by. Beloved may have been lo-fi, this is Hi-Fi with a capital H. It's great to hear string and Brass arrangements in such melodic upbeat songs.

You can listen to and buy the album here. You should!

Faerground Accidents - Co-Morbid

Quirky would certainly be an understated description of Faerground Accidents, but it's a start. I'm forever banging on about how the UK is drifting way behind the rest of the world in writing Intelligent Pop Rock. As I catch up with reviews this week, you will see that it isb't the case at all, but you have to look harder.

Based in Sheffield, the band have fashioned up a real Fuzz of an album, the only comparison from that City is maybe Pulp. Certainly there's a real edge here, at times reminiscent of Brett Anderson In Bowie mode, but at other times there's a nod to the artier end of Brit Pop, think Mansun.

Released on the Louder Than War label, John Robb has been a long time supporter and you can hear why. There's a real Indie feel to the album, that's Indie in the inventive self created way, not the term that currently describes any younger bands that aren't on a major and sound more like Nickelback.

The hooks here are a plenty and the Glam fights to get out. You are though reminded of early Jarvis Cocker with the kitchen sink feel, making the banal seem interesting. My Former Baby could be Buzzcocks or Supergrass, yet Please Stay is a brooding majestical song.

Into The Wild is Bowie doing Brel backed by Cardiacs, it really is that good. Claustrophobic is anthemic. At times, it as a Billy Duffy sound on Lead Guitar, particularly on one of the two stand out singles. She Makes Me Want To Die. The other being the opener, We Hate The Same Things which nods at Morrissey.

Co-Morbid is a splendid affair. It's wonderfully sleezy. People will get carried away with Bowie comparisons, but there's far more here than that and I can't think of many who would make this album currently.

You can buy it here and everywhere.

Blaine Campbell - Blue Mind

As you'd expect from someone in Los Angeles, Blaine Campbell's latest album, Blue Mind, has a real California Pop feel to it. It's very much in the Beach Boys territory of gentle laid back vocal style with big join in harmonic choruses.

I Don't Belong Here Anymore has a Wilbury's type shuffle but again it's very much led on the surf like harmonies. The jangle of Summer's Comin' and the lovely two minute instrumental, The First Day Of Summer ram home that this is very much a Blue Sky album

Hey Sunshine is almost like Ian Broudie backed by The Wondermints, all harmony to a 60's song structure. Awake gets a bit Folky and into McCartney land, a splendid little acoustic gem. When Blue Mind strays into Power Pop Territory, it does it well.

Keeping Your Distance is a corking little pop song, all moody and all the better for it. It's the stand out song on a really good album. The Beach Boy reminders ring loud, but The Explorers Club is the comparison that I keep getting back to. Blue Mind is a really optimistic, reflective Summer album. Well worth your pennies.

You can listen to and buy the album here. At 7 Dollars it is a snip.

Friday, 2 February 2018

Various - Gary Crowley's Punk & New Wave : Rare Punk Gems & New Wave Nuggets 1977-1982 (3CD)

I think you know that I'm not really a compilation listener. Whenever I see anything covering Punk, New Wave or Power Pop, the compilations have a mix of the obvious and the "why the hell is that on there, it's not from that period / genre?"

But this is really great. If IDHAS had been around at the time, it could very well feature the majority of these artists. I've always looked at Gary Crowley as Radio's version of Paul Whitehouse's "Int Milk Brilliant" character, but fair play to him, he's always supported those that have suffered from underwhelming air play and generally seems a likeable guy. The involvement of Jim Lahat would also certainly seem to enhance the choices.

The period is a bit stretched, 77 - 79 or 80 may have been suited as Post Punk wades in, which was a very different scene. The compilation is much more New Wave than Punk, but there's no harm in that and at £20, the bang for bucks is high.

It is lovely to see the likes of TV21, Fast Cars, The Stiffs, Teenage Film Stars and The Boys here. So to the more obvious, such as John Cooper Clarke, The Only Ones, The Skids, The Saints and The Vibrators.

It is fairly obvious that the set was put together with loving care, rather than a dash for cash and it's a fine, if uneven listen. If you were there, you'll love it, if you like the same sort of sounds now, the same. It would be lovely to think that da kids will search it out and listen to what produced the now.

You can buy the compilation at Amazon and everywhere.

Thursday, 1 February 2018

I Don't Hear A Single Radio Show Episode 32

The reviews return on IDHAS tomorrow and how far behind I am is shown by the quality of this week's I Don't Hear A Single Radio Show Again there was a long initial long list, which means there will be plenty to choose from next week.

No Archive songs this week. The playlist does seem a bit more mellow than of late, perhaps it's my mood. But fear not, there are still crashing guitars aplenty.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty one shows and two Xmas Specials here.

Here's this week's playlist :

01 The Sighs - Wait On Another Day
02 Dropkick - Out Of Tune
03 Tankus The Henge - You Can Do Anything
04 Groovy Movies - A Walk In The Park
05 Chris Price - Fever Dream
06 Grant-Lee Phillips - King Of Catastrophes
07 Sex Clark Five - Mercenary Massacre
08 Math And Physics Club - Broadcasting Waves
09 John Howard - Morning Please Don't Come
10 Salad Boys - Psych Slasher
11 A View Of Earth From The Moon - Distance Runner
12 Rooftop Screamers - Roses Again (Featuring Ken Stringfellow)
13 Lucille Furs - Please Give Her This Letter
14 JANVY - With Lions
15 Daniel Romano - Nerveless
16 Wait For June - Helsingborg
17 Ben Brookes - Siren
18 Steve Barton - Tearing Out The Roses

Friday, 26 January 2018

I Don't Hear A Single Radio Show Episode 31

After all the excitement and celebration of 2017, the I Don't Hear A Single Radio Show reaches number 31 tonight and now it's looking forward. There was over double the time to choose from on my initial long list this time, which means there will be plenty to choose from next week.

It also means that Volume 31 is brimming with great stuff. 21 songs are crammed in to a Golden Hour. There's also no space for any Archive songs this week.

The show is broadcast on KOR Radio at 8pm UK Time on Fridays, repeated at the same time on Saturdays. Due to increased popularity, a Monday Night Repeat has been added at 8pm.

You can listen to it here.

Also, a reminder that the show is archived the following week on Mixcloud. You can listen to the first thirty shows and two Xmas Specials here.

Here's this week's playlist :

01 Nick Piunti - Behind The Smile
02 The Virtues - Subcultural
03 Unlikely Friends - Fifteen Rounds
04 The Shellye Valauskas Experience - Over The Top
05 Tiny Little Houses - Entitled Generation
06 Super 8 - Catsuit
07 Balkan Falcon - Tommy Roe
08 Sea Pinks - Places She Goes
09 Green Buzzard - Do You Ever Glow?
10 The Rallies - No One Knows
11 Amoeba Teen - (Coming On) Stronger
12 In Deed - Don't Need, Don't Care
13 The Number Ones - Lie To Me
14 Green Seagull - Not Like You And Me
15 Lola's - Indigo
16 Mark Lane - If You See the Girl
17 Smart Patrol - I Won't Go Back To Work
18 The Brass Buttons - Seven Seasons
19 The Menzingers - Thick As Thieves
20 Jared Lekites - Freebird
21 Ty Segall - Alta

Wednesday, 24 January 2018

I Don't Hear A Single Albums Of The Year 2017 : The Top 10

Here's the Top 10 and nearly the end of looking back. Over the weekend there'll be a special award post and maybe even the spoof awards that were mentioned.

Chris Price is the deserved Number 1. The other nine in any other year would be winners.

The original reviews are linked. I've also added a few extra words about each, explaining briefly why I chose them.

01 Chris Price - Stop Talking   REVIEW 

Chris Price's 2012 album, Homesick, is one of the great lost albums. Five Years later, he's achieved the impossible and bettered it. A masterclass in Pop Rock writing and playing.

02 The Sunset Spirit - From The Top   REVIEW 

The Sunset Strip could so easily have been number one. I've loved it from the day I heard it. The follow up is being recorded as we speak and I would hope that the breakthrough comes this year. A Squeeze for this generation or perhaps more apt, bearing in mind the band's roots, this year's Aztec  Camera.

03 Daisy House - Crossroads   REVIEW

The band that have created the most hoo hah this year. At one stage it seemed everyone wanted to know about them. I've been fortunate enough to hear a lot of what will be this year's album. It should blow most out of the water.

04 Ian McNabb - Star Smile Strong   REVIEW

I'm loathe to say a return to form, but SSS would easily fit in with the magnificent first three solo albums. Very much a Merseybeast II, it rocks when it should, the McNabb choruses are in full flow. He confirms his reputation as one of the great Scouse songwriters.

05 Sparks - Hippopotamus   REVIEW

As original as ever, but Hippotamus is the closest Sparks have been to those definitive Island Years for a long time. They've moved far away from the early years, but here they bring what they've developed since to enhance what they started out as. Ron Mael is one of the finest lyricists around.

06 The Nines - Colour Radio (American Transistor)   REVIEW

There's always been real quality control to what Steve Eggers brings to the public. But the addition of Bill Majoros has taken The Nines to an even higher level. Slanted more towards Jeff Lynne than Andy Partridge these days, but this is great melodic pop.

07 Mothboxer - The Secret Art Of Saying Nothing   REVIEW 

Mothboxer are similar to Spygenius in the quality of what they do. I do wish Dave Ody would push himself forward more. Mothboxer have a back catalogue to die for and this latest album could be the best ever. Add them to the "I have no idea why they are not more famous" list.

08 Caper Clowns - The Buca Bus   REVIEW 

There is some fantastic Scandinavian Pop around at present. These young Danes are about the best of it. Imagine a young Crowded House. Very much like The Sunset Spirit , I'd expect 2018 to be the breakthrough year with their highly anticipated follow up.

09 Nick Heyward - Woodland Echoes   REVIEW

It's like he's never been away. Woodland Echoes is a delightful pastoral album that breaks out unexpectedly into the Jangle Pop he's noted for. This was one of the 2017 albums that I eagerly anticipated. It didn't disappoint, quite the reverse.

10 Chris Church - Limitations Of Source Tape   REVIEW

Anyone who can out Matthew Sweet, Matthew Sweet deserves to be heard. Limitations Of Source Tape is a fine album. Soaring melodies, beautifully arranged with choruses to get your vocal chords moving.

I Don't Hear A Single Albums Of The Year 2017 : 11 - 20

As it says above!

11 Cait Brennan - Third   REVIEW

12 The Singles - Sweet Tooth   REVIEW

13 Fernando Perdomo - The Golden Hour   REVIEW

14 Gretchen's Wheel - Sad Scientist   REVIEW

15 The John Sally Ride - A New Set Of Downs   REVIEW

16 Fastball - Step Into Light   REVIEW

17 Captain Wilberforce - Black Sky Thinking   REVIEW

18 Third of Never - Austerity   REVIEW

19 Groovy Uncle - A Clip Round The Ear   REVIEW

20 Partner - In Search Of Lost Time   REVIEW

I Don't Hear A Single Albums Of The Year 2017 : 21 - 30

Halfway There Now!

21 The Well Wishers - Comes And Goes   REVIEW

22 Dave Kerzner - Static   REVIEW

23 Plasticsoul - Therapy   REVIEW

24 Boo Hewerdine - Swimming In Mercury   REVIEW

25 The Lunar Laugh - Mama's Boy   REVIEW

26 David James Situation - Aquarian Comedown   REVIEW

27 Colin's Godson - The Timely Demise Of Colin's Godson   REVIEW

28 Felix Hagan & The Family - Attention Seeker   REVIEW

29 The Golden Rail - Electric Trails From Nowhere   REVIEW

30 Richard Turgeon - In Between The Spaces   REVIEW

I Don't Hear A Single Albums Of The Year 2017 : 31 - 40

The countdown continues. Review Links are indicated.

31 Deer Tick - Deer Tick Vol.1 and Deer Tick Vol.2   REVIEW

32 Greg Ieronimo - Never Leaving California   REVIEW

33 Odd Robot - A Late Night Panic   REVIEW

34 The Granite Shore - Suspended Second   REVIEW

35 Jonny Weathers - Jonny Weathers And Cosmic Scream   REVIEW

36 Justin Levinson - Yes Man   REVIEW

37 Crime Scene - Alter Life   REVIEW

38 Arts & Leisure - Rescued Objects   REVIEW

39 Terry Shaughnessy - Songs From Another Life   REVIEW

40 Shrug Life - Shrug Life   REVIEW 

I Don't Hear A Single Albums Of The Year 2017 : 41 - 50

Here are the first ten of my favourite albums of 2017. The order will change daily, but it's at this point that the snapshot is taken. Just a few criteria. The album can be available as a physical release or a download. It has to have been reviewed on this Blog throughout 2017. A link to the original review is shown.

The review criteria means some albums that have been reviewed by me elsewhere will not appear. There may be the odd album released in the year before. The criteria is that I reviewed it in 2017. Only new albums are included, reissues aren't.

41 Fast Romantics - American Love   REVIEW

42 Cheap Trick - We're All Alright! Deluxe Edition   REVIEW

43 Michael Slawter - An Assassination Of Someone You Knew  REVIEW

44 Hornal - The Game Begins With The Lights Out   REVIEW

45 The Successful Failures - Ichor Of Nettle   REVIEW

46 Paul Heaton And Jacqui Abbott - Crooked Calypso Deluxe Edition   REVIEW

47 Berwanger - Exorcism Rock   REVIEW

48 My Little Hum - Remembering Houses   REVIEW

49 Corin Ashley - Broken Biscuits   REVIEW

50 Floating Opera - Pop Song On The Elevator Down   REVIEW

Best Six Reissues Of 2017

I have always avoided doing Lists. My tastes change daily and to be honest, I'd rather listen than rate. But I agreed to this year and so coming up today are what I would consider to be my favourite 50 albums of 2017. The order might be different daily, but I do think the 50 choices would be there, but perhaps in a different position.

I Don't Hear A Single is really about new albums, so reviews on reissues are generally posted elsewhere. I'm currently considering what to do about reissues. Do I include them on IDHAS, continue to write elsewhere about them or start up an offshoot? The latter is the least favourable.

So before we get on to those 50 albums, here are my favourite half dozen reissues of 2017, all have been featured on here. Links to the reviews of the albums are included.

01 Liverpool Express - The Albums (3CD)

Review here.

02 XTC - Black Sea (2017 Expanded Edition) CD and Bluray

Review here.

03 The Dangtrippers - Days Between Stations (Expanded Edition)

Review here.

04 The Red Button - Now It's All This (2CD)

Review here.

05 Artful Dodger - The Complete Columbia Recordings (2CD)

Review here.

06 The Searchers - Another Night : The Sire Recordings 1979 - 1981

Review here.