Might check this out for old times sake. Just listening to ‘Pilchard’. I think I like it.

The second outing of the John Parish/Polly Jean partnership, following on from 1996’s Dancehall at Louse Point.

Harvey has always cited Captain Beefheart as an inspirational figure, but sometimes, I never quiet hear it. The title track in this case however is, to my delight, literally dripping with beefy goodness.

In contrast to all my other favourite artists who have been around longer than decade, PJ is one who only seems to get better and has never really disappointed (Jane’s Addiction, RHCP – I’m very disappointed in you). It’s also nice to hear John Parish back on form. I’m huge fan of his first solo outing ‘How Animals Move’, but found his recent ‘Once Upon A Little Time’ hugely disappointing in comparison.

I’m going to repost the review found on damagedgoods.greedbag.com – solely because, though I like Holly, I know little about her.

“This is a reissue of Holly Golightly’s third proper album which was originally released in 1997 on the Sympathy label in the USA, now finally available on digipak CD and 12” LP vinyl.

‘Painted On’ is one of Holly’s favourite albums and it features some of her regular live favourites including ‘A Length Of Pipe’ and ‘I Let My Daddy Do That’ which she now plays along with Lawyer Dave in her current incarnation as Holly Golightly & The Brokeoffs.

This album was recorded at both Toe Rag Studios, which was then based in Hoxton and Holly’s home in Rochester.

The players on this album are Dan Melchior on Guitar & Vox, Matt Radford on Double Bass & Whistlin’, Bruce Brand on Drums, Git & Percussion, George Sueref on Harp & Vox, Brian Nevill on Drums & Cymbols, Rick Appleby on Bass, Ed Deegan on Guitar & Slide and lastly Baine Watson as the hick!

The cover features a painting by Billy Childish of Holly and her dog Jack down by her boat on the river Medway.”

I’M NOT SURE IT’S LOUD ENOUGH.

Taking my foray into some new music (new for my general taste in guitar driven rawk!) a bit further. I started with Harmonic313 and I’ll encore with this offering from Various Production.

Undecided about this one. I’m going to have some more “listen” and I’ll come back in here and tell you all what I think.

This is the most fun anyone ever had with a balloon.

When it comes to this crazy-ass electronica stuff I’ve got no idea what I’m talking about. Thankfully, there’s a whole load of people on here that do.

I do like it though, and that’s enough reason for you to buy it.

Bought this after hearing a stunning performance of “Skinny Love” on Jools Holland. Worthy of the hype – for once.

My guilty secret – I love this track. The album is here too, though I suspect I’m not going to be too keen on the rest of it.

What can I say? There are moments of pure genius here, coupled with moments of extreme annoyance.

For the most part, I find it a pleasure. And she’s cute to boot.

This makes me want to imbibe hard liquor, wash it down with a beer, smoke a few, and run around around London in the night time debasing myself and others. I play it too much. I play it to the point I should be bored. I play it again…

Caught these guys (Bruno Verner and Eliete Mejorado) live at some place in Vaxhaul – given the description of them I’d been given (Contemporary Brazilian Radicalism), I wasn’t expecting much and somewhat reluctantly went along. After they took the stage, I was still a little unsure, and spent at least a few minutes trying to decide if Miss Mejorado was cute, or sexy, or both. In any case, she had a nice tail.

Most of the set (as far as I can ascertain in hindsight) was taken from “Let Your X’s Be Y’s”, and much to my pleasure, the gig was excellent. It’s been far too long since I’ve seen a “band” with so much energy and difference. Contemporary Brazilian Radicalism? I could not place it, and nor did I want to. It was loud, sexy, and utterly raw, and I loved every minute of it.

So – check it out. Or even better, check ‘em out live. I’ll definitely be on the pulse with gig dates, so watch this space.

Just a b-side to note.

After Tricky’s 1995 debut “Maxinquaye”, “Knowle West Boy” is proving to be my favourite Tricky release to date. There is, of course, the usual army of (mostly female) guest vocals and somewhat surprisingly a cover of Kylie Minogue’s “Slow”. Compared to previous efforts, this is also a much more accessible album. There really is something for everyone, from some pretty gruff reggae (Bacative) to the beautiful “Cross to Bear”.

If you only buy 1 thing from this store – make it this. It’s simply brilliant.

Be sure to catch him at the Barbican show (Tricky + Wild Beasts + Skream) on the 6th Oct ‘08.

Seems fitting to follow a Tricky review with Martina Topley Bird, who was a long time collaborator of his on such releases as Maxinquaye and Blowback (also of note is that both Trickys’ and Martinas’ new releases, “Knowle West Boy”, and “The Blue God” respectively, were both produced by Dangermouse).

The Blue God is her second solo effort, following from Quixotic in 2003. The first single “Carnies” and “Baby Blue” are definitely the outstanding moments for me, and the album as a whole is pretty much a pleasure to sit through with a coffee on a sunny morning (such as I am). If there is a let-down – and it should by no means put you off it’s purchase – it’s “Da Da Da Da”. Why? Because I’m grumpy sod, and I don’t do twee.

Tricky’s own label, Brownpunk, present a selection of their offerings.

Maybe you’ll be treated to a more succinct review once I’ve had the chance to write one.

Derdang Derdang is one of those albums that takes pride of place on my list of things to hear before heading out.

Check out “Cherry Lips” and “Got to Get” and tell me you don’t feel the same… i reckon a “music to drink to” collection is not far off…

Early Banhart. Something was lost when the Devendra’s americana wagon hurtled out of control. This is him doing what he does best – writing great songs – and keeping them simple.

I was 15 and still at school when I picked this album up on the strength of a guitar magazine article. Kim Deal was explaining the recording process where they experimented with building huge tunnels to put the guitar amps in – micing them at the opposite end. They also played sewing machines through the pick-ups and all kinds of crazy low-fi shit to get some interesting sounds.

They don’t make ‘em like this any more.