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How World In Motion changed English football forever

June 4th, 2010

We ain’t no hooligans,
This ain’t a football song,
Three lions on our Mars,
I know we can’t go wrong.

And there, in 30 seconds of televisual madness, John Barnes manages to both hit a new career low and defile the greatest football record ever made.

Quite an achievement for a man whose playing career ended with lumbering embarrassment at Newcastle and relegation at Charlton, and whose managerial career with Celtic (‘Super Caley go ballistic’ etc) and Tranmere must surely rank as one of the least successful of all time.

Barnes never exactly pulled up any trees playing for his country either, and some might say his original rap on World in Motion was the best thing he ever did for England. It would be hard to argue with that opinion.

Because World In Motion by New Order, some say EnglandNewOrder, is indisputably the best football record ever made. You can keep your Three Lions, and your Back Home, and your All I Want For Christmas Is A Dukla Prague Away Kit.

It is the best football record ever made because: a) It is really very good; and b) It helped change the face of English football – and some might say football in general – forever.

Cast your mind back to the end of the 89/90 football season. English football was virtually unrecognisable to the bells and whistles phenomenon it is today. Liverpool won the Barclays First Division, but they didn’t get into Europe. English clubs had been banned from European competition for five years, and Liverpool for six. The shadow of hooliganism still hung over the game.

It was only a year on from Hillsborough, and the memories of that disaster remained fresh in the mind. Racism was prevalent on the terraces, and football was hardly an attractive place to take the family.

And on the pitch things were fairly uninspiring. The PFA and football writers’ players of the year were David Platt and that man John Barnes, and there was very little foreign talent around.

Not that you would get much of a chance to watch it. Armchair fans were restricted to the occasional Big Match and lamentable highlights shows on ITV.

Overall, English football was in a pretty miserable state. There was absolutely no reason to think that the national team would have any success at the World Cup that summer in Italy. There was very little optimism.

And then came World In Motion. New Order, fresh from the success of the Ibiza-infused Technique, teamed up with Keith Allen, Dad of Lily, to record the track. Also roped in were Barnes and various team-mates including Paul Gascoigne and Peter Beardsley, both of whom, legend has it, recorded versions of the rap that never made it onto the final track. Throw in some Kenneth Wolstenholme samples, and the end result was something quite special.

The genius of World In Motion is that, as the rap admits, it ain’t a football song. Yes, there is talk of creating space and beating your man, but really it’s bigger than that. ‘Love’s got the world in motion,’ the chorus proclaims. Love, not football. It’s only at the end, as it swells to a climax, that the song throws in, ‘We’re playing for England, En-ger-land!’, and by then you’ve been drawn in and can hardly help singing along.

World In Motion helped create belief in a national team that arrived at Italia 90 with little to no chance. Peter Hook has said that the song ‘enhanced patriotism’, and that’s true. These were the days before every other car flew a cross of St George, and just about the most commitment anyone gave to showing their support for England was to collect World Cup coins or Panini stickers.

It’s obviously an exaggeration to say that World In Motion propelled England into the semi finals, but it certainly helped. It encouraged us to go out and buy England shirts, have a couple of beers, throw our arms around our mates and holler, ‘En-ger-land’. It encouraged us to love the game again.

What happened next is securely stored in the memory of any football fan. Sir Bobby’s genius, Lineker’s goals, Waddle’s penalty, Gazza’s tears. And that was that. English football was never the same again.

Within a couple of years we had the Premier League and wall-to-wall TV coverage. We had an influx of new talent, sponsors and money. There were new stadiums and kits and haircuts and multi-coloured boots. Not all of the changes were positive, of course, but overall the game became a bigger and better thing.

And World In Motion was the starting point. Had it not created a surge of pride and goodwill that propelled the England team into the semi finals of Italia 90 who knows where our national game would have ended up? We might still be watching the bloody Big Match. And that would be no good at all.

So now it’s 20 years on, and it’s World Cup 2010, and England have no chance of winning the thing. Or do they? If they hold and give and do it at the right time, anything is surely possible.

New Order – World In Motion (Spotify)

Football, Music , , ,

The Duke and The King live review

April 30th, 2010

The Duke and The King
The Cluny, Newcastle, 26 April 2010

Every so often you get blown away by a band, and tonight was one of those occasions. I might not even have been here tonight had Danny and the Champions of the World not been on the supporting bill. The always-entertaining Danny (operating in reduced circumstances with opening act Trevor Moss and Hannah-Lou joining him for a stripped-down set) was great, but The Duke and The King were even better – undoubtedly one of the best bands I’ve seen up here for years.

Originally a side project for Simone Felice of The Felice Brothers, The Duke and The King (named after a pair of travelling hustlers in The Adventures of Huckleberry Finn) has now become Felice’s priority, and seem destined for very great things. Felice (The Duke) and Bobbie Bird Burke (The King) recorded debut album Nothing Gold Can Stay in a one-room woodstove-heated cabin. It’s a good album – warm, catchy Americana – but it becomes really great in a live setting.

Adding Simi Stone and Nowell Haskins to become a four-piece takes the songs to another level. All four are outstanding vocalists, combining voices to produce outstanding harmonies, and the swapping of instruments and singing duties gives the set real variety.

Opener If You Ever Get Famous starts as folky Americana with Felice’s voice and guitar, adds Stone’s fiddle, Haskins’s drums and Burke’s bass, and builds into a glorious, harmony-fuelled gospel-soul number.

Then it’s straight into The Morning I Get To Hell, with audience participation encouraged and gained. The setlist is great – the cream of the album, plus a couple of Felice Brothers songs – Don’t Wake The Scarecrow and Radio Song – and a few nice cover versions.

One of the many highlights is a wonderful sing-a-long version of Neil Young’s Helpless, which has Danny and The Champions and the majority of the audience joining in. But the most surprising moment is when Haskins (aka Reverend Loveday) goes centre stage to perform a jaw-dropping acapella version of Sam Cooke’s A Change Is Gonna Come. This guy’s amazing voice gets a huge roar of approval from the Cluny crowd, so loud it must be heard all along the Tyne.

The fact that these guys seem to be enjoying themselves a great deal only enhances the evening. It felt like a privilege to be here tonight, seeing a band that in a more perfect world would be on every iPod in the land. That day may come, but until then we can feel incredibly lucky to have seen a band with so much talent it could barely be squeezed into this tiny venue.

The album Nothing Gold Can Stay is on Spotify.
A fantastic live session can be downloaded free from Daytrotter.
A Later… performance of The Morning I Get To Hell is on YouTube.

Music ,

Spotify introduces revolutionary ‘bad music filter’

April 1st, 2010

This post originally appeared on Spotiguide.

Spotify, the much talked-about music streaming service, has today launched a new feature aimed at filtering out bad music for discerning listeners. The feature, called ‘Airplay Floods’, uses a revolutionary musical genome identifier to weed out bad records from albums and playlists in the Spotify catalogue. It has already been nicknamed the ‘crap filter’.

Spotiguide was the first media outlet to see the new feature. In tests, turning on the Airplay Floods function removed tracks such as The Cheeky Song (Touch My Bum) by The Cheeky Girls and Candle in the Wind 1997 by Elton John from the Spotify catalogue. Spotify programmers refused to reveal exactly how the patented method to identify the ‘DNA’ of bad music works. However, despite repeated attempts, Spotiguide was unable to play Everything I Do (I Do It For You) by Bryan Adams or Believe by Cher while the crap filter was active.

‘Airplay Floods is a game-changing feature,’ said Orla Filop, a spokeswoman for the Stockholm-based company. ‘Spotify has already revolutionised the way people listen to music. Now it will revolutionise the type of music they listen to, greatly reducing the amount of rubbish their ears are subjected to.’

Although welcomed by many Spotify users, the new feature has already been criticised by anti-censorship groups who claim that the company should not remove listeners’ rights to listen to bad music.

‘The Airplay Floods feature is an attack against freedom of choice,’ read a statement from anti-censorship group ADF. ‘Tastes vary, and one man’s Beethoven is another man’s B*Witched. If people want to listen to Black Lace or Billie Ray Cyrus, then they should be allowed to do so in peace without fear of censorship of mockery.’

Some Spotify users have also reacted angrily. An early comment on the Spotify blog from user Flair Pool read, ‘hey IDIOTS coz i LIKE sexbomb by tom jones n listen 2 it every day n u have RUINED spotify cos now I cannot listen to sex bomb by tom jone you IDIOTS (sic).’

The feature is permanently activated for Spotify Free users, meaning that they will no longer be able to listen to tracks such as Mr Blobby by Mr Blobby or Anyone Can Fall In Love by Anita Dobson. Spotify Premium users can toggle the Airplay Floods feature on and off using the F9 key.

What do you think of the new Airplay Floods feature? Post a comment and let us know.

Music, Technology