Ian Gittins reviews Shed Seven's Change Giver and Sharon O'Connell reviews Portishead's Dummy, 3rd September 1994

Ian Gittins reviews Shed Seven’s Change Giver and Sharon O’Connell reviews Portishead’s Dummy, 3rd September 1994.

You know I think there’s a Shed Seven song I quite like. It soundtracked a summer holiday job picking tomatoes and I vaguely remember them performing it on TOTP.

Ahh yes…thanks Spotify; it was Where Have You Been Tonight

[Hangs head in shame]

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The 1992 Reading Festival review, 12th September 1992.

Writers: Everett True, Jim Arundel, Shane Danielsen, Andrew Smith, Simon Price, Sharon O’Connell

Photographers: Kevin Westenberg, Stephen Sweet, Matt Bright, Steve Gullick

Those who also turned up to get drunk: Allan Jones, Steve Sutherland, Andrew Mueller, Ben Turner, Sally Margret Joy, Ben Stud, Ngaire, Black Mat Smith, Clint Poppie

Apart from the mud this was the infamous Reading Festival where ET pushed Kurt onto the stage in a wheelchair. Has the story of how and why that came about been told already? If so please post a link and if not then can I tempt the story from the horse’s mouth?

UPDATE: Discussion about Reading and particularly this Reading Festival over on the WSC message board prompted by Simon Price considering breaking a 21 year attendance record.

And if you’re looking for a timeline of Reading Festival from inception to present day then this site if worth a look

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Various album reviews including Snoop Doggy Dog and The Boo Radleys, 11th December 1993

Various album reviews including Snoop Doggy Dog and The Boo Radleys, 11th December 1993.

A timely reminder from the Stud Brothers, to all those of you that think Snoop is ‘cool’ and ‘ironically’ go in for all his Shizzle Bizzle shit, why you should feel thoroughly ashamed of yourself.

My love of The Boo Radleys has already been previously documented so it’s no surprise that I’m going to post this review. The fact that Simon Price likes it does surprise me though; “two stunning LPs (no exaggeration)”. I know Martin has no interest in seeing this stuff again – “Never Go Back” as Alfredo tells Toto in Cinema Paradiso – but it’s here for everyone else that does. Here’s a favourite track of mine from this earlier period when the band were just starting to show flashes of their future brilliance – wait for the trumpet solo at the end!

The Boo Radleys – Spaniard

Lots of other records reviewed on this spread apart from these featured two – tuck in!

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Steve Sutherland reviews Bandwagonesque by Teenage Fanclub, 26th October 1991

Steve Sutherland reviews Bandwagonesque by Teenage Fanclub, 26th October 1991.

And when I say “reviews”, I really mean “compares”. Despite the persistent cries of plagiarism this was still a huge Creation success at the time and the start of a lighter poppier sound (when a grungy/shoegaze direction was prevalent) which would eventually become Britpop.

I was never that much of a fan of the Fanclub though and besides, I always thought Grand Prix was better. After that record they slowly slipped off my radar and I’ve genuinely not thought about, or listened to a Teenage Fanclub track for years and years. So memory jogged, and as is now customary, I go to wikipedia to find out if the band have split up or are still together. And stone the crows it seems that in this case it’s the latter. Now I’m not sure if my surprise about this just proves how out of touch with music I have become and that Teenage Fanclub are musical colossus’ selling more records than they ever did before, or if, as I suspect, the band are struggling on for lack of anything better to do, somehow eeking out a living based on former glories. Time marches on and pop’s a fickle mistress.

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Sharon O’ Connell reviews The Telescopes live at The Powerhaus, 20th January 1990.

More Telescopes from the same Melody Maker as the previous interview along with an ad for a Birdland single…another ‘nearly’ band that I never got into.

The Powerhaus has been a long time out of business though. I remember going a few times as a student back in 1989/90 and then having to face the drag of a 2am night bus journey back to south London. I work in Islington now and can’t recall quite which building it was in. Before the turning to Chappel Market or just after? Robin??

Dug out Taste this evening and have ripped I fall, She screams for your listening pleasure.

Finally, the prize for today’s most bizarre Google search resulting in 2 visits to this blog goes to “lily allen dinosaur wellies”

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Simon Price, who unlike Tim Jonze knows his stuff, reviews David Bowie, live at Milton Keynes Bowl on The Sound & Vision Tour, Melody Maker 11th August, 1990. And very good it is too.

Much to enjoy on this page actually. A nascent Blur at The Dome, which I should probably remind any younger readers does NOT mean The O2 Dome, are applauded for “their total destructive abandon” and “the singer – Randell or whatever his name is” is singled out as having “definite star potential…but if they don’t write some tunes with a different harmony for a change they’ll only be remembered for this – he falls over well.” Hahaha!

Paris Angels, who did indeed pen “divinely heady single Perfume”, reviewed on this page too. Everyone has heard Perfume by the Paris Angels yes? Then please do so now. Wonder if they still play this at Camden Palace…er…I mean, Koko. They should.

And if that’s you at the Snuff gig, caught by the camera, about to get up for yet another stage dive then please say hello and let us know which bank or insurance company you work for now.

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Sharon O\' Connell reviews Seefeel\'s Succour, 18th March 1995

I used to listen to this record a lot. More specifically I used to listen to this record a lot between the hours of about 4-7am on Saturday and Sunday mornings. And when I say “listen” I really mean “lie catatonic while the record played in the background”.

But this does the music a disservice. It still holds up. It’s still a great record. I’m listening to it now as a matter of fact. It doesn’t feel especially dated. In fact it sounds a lot like the record everyone keeps hoping Autechre might release after 10 years of unsatisfying glitchronica. A step back perhaps, but sometimes we need to step back in order to move a little further forward.

Sharon O’ Connell now writes for the music section of Time Out (London) but also contributes to Uncut magazine. Click here to read her brief interview with Fuck Buttons, one of today’s exciting, adventurous electronic bands.

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