Olimite wrote:

LivDiv wrote:

Not sure I would say they are the Greatest but always loved this track...


The Power Station were made up of Robert Palmer, Chic drummer Thompson and the Taylor brothers from Duran Duran.
Pure 80s.

I’ll probably get burned at the stake but their cover of Get It On is better than the original.

I've just listened to this and it's amazing and wild. Proper clean 80s drums and guitars. I love It.

It's the ernest confidence of these 80s ones, unreal. Probs got together and thought "man, we can do some really good shit together, change the world, man" and had full budgets to do whatever they wanted. And out comes... That. Hahahaha, part of me feels that if I was growing up in that era, I'd probs be a punk calling them out, taking opportunities away from those that deserve. Now we look at it and think lol you crazy rich scamps you.

The mountains of cocaine probably fuelled most of them into it. Hilarious.

I don’t know if I would count this as a supergroup, but it kind of is. I’d call it a collaboration, really.

Miranda Lambert, Ashley McBryde, Elle King, Caylee Hammack, Maren Morris, Tenille Townes.

Probot!

Was trying to remember them the other day but got stuck on Them Crooked Vultures.

Talking about Joey Jordison, him and Wednesday 13's group Murderdolls are one of my favourites.

It's old now, but they were already old when they released it in 2002:



Top Stones, would make my best of.

First album released in 1971, last album released in 2018.  This performance appeared posthumously during Picture Show: A Tribute Celebrating John Prine, which was shown on Youtube about a month after he died.  The tribute was mostly friends and peers performing renditions of his songs, but then a new original unexpectedly popped up towards the end.  He wasn't prolific in his latter years, so it's fair to assume this may have been the last thing he wrote (and possibly even performed).  It's essentially a demo of an unfinished song, and I expect he would have tidied up a couple of lines if he'd ever decided to use it for anything, but even in its existing form it's better than anything on his last album imo (not knocking that record, this just has that little bit of extra Prine about it).  I watched the doc with Tilly, who paid attention to the whole thing bless her, and NGL I was heftily wobbled by this.  Partly because it was so unexpected (the whole thing was emosh anyway), partly because I was desperate for it to be good as he started picking, and partly because it actually was genuinely good, which was a huge relief.  It also felt eerily like he'd written his own farewell song just before he got the covid lurgy.   

The oldest of geezers, being the best of geezers.

I find this one tricky to answer because I'm acutely aware that about 50% of the bands I listen to are people that were popular once and are now just quietly plugging away at stuff in the hope that people like me will tune in.

Perhaps inevitably I've picked people that probably weren't that famous in the first place, but are certainly less so than they once were.

Firstly, I have a weird soft spot for Luke Haines.  I say weird because, well, I suspect Haines is the last person to be impressed by anyone having a "soft spot" for anything, and for every release of his I enjoy, there's something that frustrates the Hell out of me. But I love his dogged insistence on doing whatever he wants, whilst invariably slagging off everyone else at the same time. Like many BritPop alumni his work often explores touchstones of British culture, but for him it's less flag shagging, and more Saturday afternoon telly, and alternative pop histories.  (There's an entire album dedicated to 1970s British Wrestlers, and another reimagining pop stars as Wind in the Willows style animals) I'm not sure he was ever all that much in the limelight in the first place, but The Auteurs were pretty successful back in the day, so I'm saying he counts. His various incarnations since - Baader Meinhoff, Black Box Recorder, The North Sea Scrolls, Black Arts as well as everything released under his own name, have all been, at the very least interesting experiments, and often overlooked gems.  

Anyway, here's his most recent, from his second album with REMs Peter Buck, an unlikely pairing that resulted from Buck purchasing one of Haines's paintings of Lou Reed...



If Luke Haines was a stretch for previous fame, than I guess Darren Hayman is even more so - but Hefner were very much A Thing in my tiny corner of the world back in the day.  Since then he's been extraordinarily prolific, and similarly varied in what he's produced - from a tour of every Thankful Village in England with a song written in each, to an album based on William Morris's "Chants for Socialists" and another dedicated to the Essex Witch Trials. They tend to be relatively Lo-Fi efforts as it's generally just him...

Here's a song from "Home Time" an autobiographical album about divorce which is both beautiful, sad and more honest than most such affairs...

Posthumously released cracker page count: 2.

Natalie has been following Taylor Swift's career eh

FUCK YEAH HANSON WHERES CINTY.

Checked my top 10 songs of all time list and do I have a thing for the comeback kings?

MyNameIsKrisG wrote:

Swim School Nicki Wells NewDad Samana Lunar Bird Hourglass

OK, so I mentioned Samana back in December.  They are pretty damn incredible.

The Knife — SAMANA (samanaroad.com)

Their new song could be their best yet, but I love everything I've heard from them to date.

“The Monkees weren't about music, Marge. They were about rebellion, about political and social upheaval!”

Lead singer of a band, minus the band they're associated with.