I do like a lot of acid jazz but I do remember when I was about 20 pretending I liked it more than I did because I snogged a really beautiful girl that loved it and wanted a second date. I even bought a Brand New Heavies album as that was her favourite but she spurned me pretty quickly.
Saying that the Acid Jazz Starsky and Hutch theme from the James Taylor Quartet is incredible in every way imaginable, we used to get the DJ to end many nights on it. That probably inspired Matt Berry. If not he’s a fool, it’s genius.
Holy cow, The Killers’ Brandon Flowers’ vocal style is a wholesale rip-off of this guy:
Just came across the full track listing for the album:
Are You Being Served? (1972-1985)
The Good Life (1975-1978)
LWT (1968 – 1972)
Blankety Blank (1979 – 1990)
Top Of The Pops (1963 - 2005)
Picture Box (1966-1990)
The Liver Birds (1969 – 1979)
Thames Television (1968 – 1992)
Doctor Who (1963- present)
World In Action (1963-1998)
Sorry (1981 – 1988)
I think Blankety Blank is the one I want to hear most.
A bit of throwback pop ambience for these warm summer days.
I was never a big All Saints fan, but this one was good and has a real nostalgic quality.
Ever wonder what Siouxsie and the banshees would sound like as a metal band?
Pure Shores is a 10/10 pop song. I love it. Stone cold classic.
I always remember I was in a pub quiz back in Wales and the question master asked “which pop band recorded the hit single Pure Shoes?”
Since then I can only think of it as Pure Shoes.
This song has an interesting origin:
It was composed and written by Holocaust Survivor Yom Tov Ehrlich, who after surviving Chassidim moved to Brooklyn, started recording Folk Music from the Old Country, and wrote some Yiddish Folk Revival Songs- this is one of them. It is a Literary Ballad about the true story of Yaakov Potash:
When he saw the Nazis coming to invade his hometown, Potash fled east and wound up in the Uzbek SSR. Given that this was also Stalin’s era he had to keep his Judaism a secret. He fell in with Tajik farmers, and the Tajik chief insisted that Yaakov become his son-in-law, but as Orthodox Judaism is strongly against Interfaith Marriages (We use the term “intermarriage”, which has led to some problems, because most Non-Jews and Non-Orthodox Jews take that as a synonym of “Miscegenation”, but we have no problems with a convert of any race or other background marrying a Jew by Birth; I have a friend who’s mother is an African-American Convert, and no Rabbi had a problem with her marrying his Jew-by-birth Father, nor him himself marrying a daughter of a Jew-by-Birth and a Caucasian Convert. The song actually emphasizes this stating “The Torah forbids me to marry a woman who does not share my belief”). At this point, Yaakov reveals his secret to escape the marriage (given the Political situation, even if she and her father wanted her to, she couldn’t convert, besides the fact that Conversion requires Three Rabbis, and in the case of a woman converting, an already Jewish woman, to oversee the process), but instead of reporting him, the Tajik chief drugs him with Laudanum and kidnaps him to force the marriage. He awakens, and manages to escape, but the Tajik Chief’s men are after him. The song ends with him on a mountain, contemplating suicide, as it is permitted to escape torture. However, he, of course survived, and met Yom Tov Ehrlich, who composed this Literary Ballad for Potash’s wedding after the War. Potash settled in Brooklyn.