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]]>Evanston, IL 60201-3609
10PM, 18+
W/ ‘John Wesley’s Band‘
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The Safes - Bad Blood
Chicago’s own constantly morphing powerpop trio (presently) came at us with this smashing release that is the quintessential blend of sophistication, quality control, and great production. The album, unlike most released in the post digital world, is not a case of singles, but a great album through and through. ‘Deception’ begins a transition roll that lasts until the end of ‘Cool Sounds Are Here Again.’
Nestled at number two in the four track roll is ‘Bad Blood,’ which is percussively the most badass number on the album, and fits perfectly right out of Deception. Get yourself a copy of this one, and if nothing else, check out music videos at the bottom of the post.
The Jam - Non Stop Dancing
In The City is another unspoken anthem of the London late 70’s underground. Their look would’ve convinced anyone that The Jam were edging on mod revival. With a resurgence of both Power Pop and Garage in the mainstream and nostalgic eye, it’s hard to discount the Jam as at least influential.
This is a heavy dancing rock n roll number, which is the best kind, if you can make it work. Between ‘In The City’ and the best cover of ‘Slow Down’ you’ll here, this album should be at the top of any punk, garage, or new wave DJ’s list.
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Luke Kelly - Hand Me Down Me Bible
Luke Kelly and the Dubliners always walked a thin line between a swilling, swaggering bunch of roughnecks and a down-home group of folksmen you’d gladly have for mother’s Sunday tea. If the Clancy Brothers were the Beatles of Irish folk revival (let’s just say… ) the Dubliners would get the title of Rolling Stones.
Sometimes, though, they dropped their edge altogether and the group would simply churn out some exultant gospel number or other, particularly when Kelly sang lead. This track is most easily found on THE PERFORMER, a DVD and CD collection of Kelly’s best live cuts. It’s one of the best things Kelly ever sang and certainly the best Phil Coulter ever wrote. A rousing acoustic instrumentation carries it all the way to the back of the house.
The Pogues - The Ghost Of A Smile
By the time Shane MacGowan reached the end of his first go-round with the Pogues, his song styles had meandered from punk-tinged London-Irish bastardry to a kind of experimental folk revival. The results were softer-edged, more diverse in their instrumentation, and often more than a little bit maudlin.
1990’s HELL’S DITCH is a hit-or-miss affair, like most Pogues records, and from the slurring and slipping MacGowan is clearly at the end of his tether. But this song positively soars over the rest of the mess. It holds hope in one hand and heartbreak in the other, and the bright wistful instrumentation hearkens back to the traditional Irish lineup that made the Pogues the definitive force in that whole revival sound. It’s also clear that producer Joe Strummer understood what made this band sound good, and it’s not surprising the Pogues picked him for their next front man.
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