Andrew Gold had a prolific career, but to many people he will be best remembered for three songs. The schmaltzy MOR pop of ‘Never Let Her Slip Away’ gave Gold a massive hit in 1978; his ‘Thank You For Being A Friend’ eventually became an evergreen number thanks to being re-recorded as the theme for hit US comedy The Golden Girls and 1977’s ‘Lonely Boy’ became a hit on both sides of the Atlantic. A genuine pop classic, that song’s multi-layered kitchen sink arrangement ensures it sounds as good now as it ever did – a rival to the complex pop of 10cc and a track that gave Jellyfish every reason to exist. It’s a four minute joy: a world of stabbed pianos and a story-telling verse leads into a massive chorus full of whoahs, which in turn gives out some great staccato guitar work and ultimately one of the greatest guitar solos you’ll ever hear. If that sounds overly indulgent, it surely is – but it’s also power pop perfection.
‘Lonely Boy’ takes pride of place within this box set – presented in no fewer than four versions – but that’s only a small part of the picture. This anthology provides the ideal opportunity to explore Gold’s four albums for the legendary Asylum label, along with a host of extras within one lovingly curated package.
‘Pop Up Jim Bob’ comes seven years after Jim Bob’s previous studio album, but in that time he’s been doing anything but resting. There have been Carter USM reunion gigs; two massive and critically acclaimed solo tours and, as J.B. Morrison, he’s written award-nominated novels. You can say what you like about this man, but you could never accuse him of being lazy. Compared to his Carter days, Jim’s solo work has sometimes been overlooked, but as those who were present at any of his “National Treasure” shows – or have been lucky enough to catch him at other times with pianist Chris-TT – will attest, he’s lost none of his lyrical bite. Those still paying attention after 1997 have known the pleasures of Jim’s sweary cookery teacher (‘Mrs. Fucking MacMurphy Teaches Food Technology’), Ray Davies-esque romances transplanted to the inner city with added heroin for the heroine (‘In The Future All This Will Be Yours’) and supermarket unrest (‘The Tesco Riots’, a number that melds a very Carter USM-ish lyric with the kind of bluesy arrangement you wouldn’t have found within a hundred miles of his previous band’s albums). With most of his best work carrying a strong narrative, Jim has continued to be one of the UK’s most distinctive songwriters, regardless of any musical differences.
Another release in the series of Music For Gloves digital EPs raising money for Spanish hospitals during the Covid-19 pandemic, Banana & Louie Records present four unreleased tracks from two cult singer songwriters, Kelley Stoltz and Carwyn Ellis.
In the old days, record sales were everything. Bands measured their success by gold and platinum discs. With the advent of the internet – and more specifically the ability to stream music at the push of a button – the measure of success gradually changed. In a world of Spotify and Apple Music users, Roo Panes is a runaway success, having had his music streamed millions of times.
“Sometimes you hear new songs that sound like old songs…”, says Nick Piunti of ‘Downtime’, making no secret of the retro qualities that provide the heart of his 2020 release. It’s ten songs draw influence from a very broad selection of power pop and radio friendly alt-pop tunes from the 90s, serving up a selection of songs that easily feel like a visit from an old musical friend and could even awaken a few old memories along the way.