Yep, it’s time to lie back on the shrink’s couch and ‘tell me about your childhood’.  Well.  Sort of.  Actually, my mum just happens to be in town, so I reckon that on Fresh Air Radio this week I might just play all sorts of mum songs, just for shits and giggles.

This came about because of the following comment by my brother on the thread about music formats this week:

“I need to at some point clarify Mum’s music taste for your readers because the poor woman just constantly gets dismissed as a ‘pop fan’.  

The poor woman has a massive collection of jazz, blues; a truly encyclopaedic Opera and symphonic collection and yet, one Lighthouse Family album and the poor woman’s whole musical taste just goes whooosh out the window while Dad is sanctified while you merrily ignore his David Grey albums.  Albums with an emphasis on the plural!”

Now, as you might well know by now, I am a philistine, so mum’s classical music and whatnot means absolutely bollocks-all to me.  However, I think it needs to be pointed out that I most certainly do not ‘dismiss’ my mum as a pop fan.  I fucking love the pop stuff she used to play around the house when we were growing up, and if anything it was my mum’s stuff which first properly got me into music in the first place.

On air from 3:30pm UK time – listen live here.

So for all I do indeed call her a pop fan, which she most certainly is, I do not at all mean that to be a dismissal.  As you will find out on Fresh Air today, when I will be playing all sorts of shite from my mum’s record collection.  And of course, seeing as I left home in 1993, it will be enormously 80s-tastic!

And now, while we’re at it, for the Friday Fives. Honestly, I doubt I can do much better with these questions than I’ll do with the music I’m going to play this afternoon, but Mrs. Toad and I were talking about doing a Saxcast this weekend, so I thought I might ask for some help.

1. Which instrument would you like to see get the saxophone Total Taboo treatment?
2. Best super cheesy 80s sax tune.
3. Acceptable use of sax.
4. Awesome Great Big Eighties Pop Song!
5. Most eighties of all eighties movies.

Song, by Toad’s Friday Fives radio tracklisting for today:
1. David Bowie – China Girl
2. Meat Loaf – Dead Ringer for Love
3. Bow Wow Wow – Aphrodisiac
4. Sparrow & the Workshop – Devil Song (Live)
5. Erasure – Sometimes
6. Bruce Springsteen – Dancing in the Dark
7. Withered Hand – Cornflake (Fresh Air Session)
8. Mike MacFarlane – Waltz (Fresh Air Session)
9. Simple Minds – Don’t You Forget About Me
10. Kate Bush – Running Up That Hill
11. The Magnets – Ever Fallen in Love (Buzzcocks cover)
12. ABC – Poison Arrow
13. Meursault – Lament for a Teenage Millionaire (Fresh Air Session)

Excuse me for foisting a split infinitive on you this early in the morning, but that particular thought popped into my head last night, and it’s a curious one.  I was walking home from Black Bo’s in the centre of town and it was pissing down with rain (I assume 2am, half cut, walking in the rain is usually when this sort of cod-profundity pops into people’s heads) and I walked past two or three flats Mrs. Toad and I nearly moved into, before buying the place we’re in now.

I think I’ve mentioned before that this house is the longest I have ever lived anywhere in my whole life.  My previous record was three years when we lived in Singapore as kids, and three years in the same place in Glasgow, albeit split over two spells, but Mrs. Toad and I have been in the place we’re in now for as long as we’ve been married which is a little over four years now.  This, in itself, is a slightly strange thought.

Anyhow, we bought a couple of years before the housing bubble really burst, and at that time in Edinburgh most things sold through a blind bidding process in which a house was listed at an ‘Offers Over’ price, everyone interested made a bid, and the highest bidder got the house.  It was a massively frustrating process, not least because the actual Offers Over premium over and above the listed price seemed to be over twenty percent on everything we bid on, and we ended up making something like fifteen unsuccessful offers before we finally got the place we did – and even then we only got that because we whisked it out from under someone else’s nose.

Anyway, being in this house has allowed us to do so much that the other places would not, not least recording sessions in the living room which have, on a few occasions, included live drum kits.  Also, as much as we have shaped the house very much to suit our own personalities, there are many ways it has shaped the way we live in return.  The garden, the layout of the kitchen and dining room, the big, dark, North-facing living room… it’s always an oddly symbiotic relationship when you live somewhere, so it was strange to walk past two or three places we so easily (for want of another five or ten grand – so not that easily, but you get my point) might have lived.

It’s funny to walk past and look up and imagine that that might be your living room window, for example.  And funny to think how shit some of the places look to me now, in comparison to where we are – or indeed how some of them still look really inviting, too.  I would personally have chosen Leith, I think, if choosing an area – it’s scruffier and a bit more like what I am used to, I guess – but where we are is a lot swankier than that and I do wonder how that shapes things too.  Funny.

So yes, de-lurking amnesty day as per usual.  And I am going to play 5-a-sides this evening and then repair to the King’s Wark for scran.  Splendid.  Fuck the pissing rain, who cares!

1. What is your favourite antidote to torrential rain?
2. Name a good rain experience.
3. And a shit one.
4. Which place have you lived which least represented your personality?
5. Wettest you have ever been, not counting baths or swimming.

Fleetwood Mac – Farmer’s Daughter

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The Everley Brothers – Be Bop a-Lula

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Jens Lekman – Shy Phenomenon

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Taken By Trees – Watch the Waves

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David Bowie – Oh, You Pretty Things

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Ha! Any excuse to shoe-horn a bit of vintage REM into the equation! Although I’ve probably desecrated five millennia of Chinese mythology by misappropriating it like that. Sorry!

So… Mr. and Mrs. Toad have invaded China to spread the good word of the amphibian god, Toad-Ra, and left Toad Enterprises Inc.™ to its own devices, which leaves me in charge of copying-and-pasting stuff up onto the blog.

If you’d like to see your name up in lights on here over the next couple of weeks, like Martin did yesterday with his excellent gig review, just drop me a line - probably best to use the sunday(at)songbytoad(dot)com email address. Basically I’m trying to avoid writing too much and would prefer it if you lot did it all instead!

That photo of the little Feng Shui toad reminds me of a guy I used to work for in Cardiff. He ran a small but fairly successful chain of bars and restaurants, but then got all mystical on us and got into Feng Shui and all that self-help shit. He decided that what Cardiff really needed was a shop half-filled with distressingly hippy-dippy life-enhancement tat like healing crytals and dozens of little toads like that one in the picture, while the other half of the shop was filled with heaps of American self-help Anthony Robbins bollocks retailing at around £150 for a pack of six audio cassettes. The fella was forced to close the shop within a year. Fucking idiot.

Anyway, it wouldn’t be Friday without a five, would it? So here we go. Remember to delurkify yourself and get stuck into the bizarre, unpredicatable and frankly suggestive banter that usually occurs on a Friday. Hey, beats working.

1. If you were to visit China, what in particular would you make sure you experienced while you were there? (If you’ve already been - you can tell us what you enjoyed most.)

2. What dish do you always order from the Chinese take-away?

3. And the oddest Chinese thing you’ve ever eaten.

4. Do you practise any Feng Shui at home?

5. Happy-clappy shiny-shiny hippy-dippy Anthony Robbins self help plans. A genuine method to improve your life or a pile of hoary old arse?

And, look! Here’s five delicious tunes!

REM – Seven Chinese Brothers

China Drum – Wuthering Heights

China Crisis – Black Man Ray

Ed Harcourt – Shanghai

David Bowie – China Girl

This podcast is called the Greencast because we have the most hobbled government in recent memory – Cameron has kinda, sorta, maybe won, in the sense that he is actually the PM.

On the other hand Clegg, having been butchered at the polls, after a promising campaign, is now in a position of more influence than he was ever likely to gain from the election alone.

And yet Labour, despite being deposed, seem to have come out of it all better than anyone.  They may be out of power, but they are free from the millstone of the next few years of cuts, they can sit back and watch the Tories and the Lib Dems squabble for a couple of years and achieve nothing at all, and once the coalition has made fools of themselves for a couple of years Labour can pop up again with a new, smooth, television-friendly leader and trade on the inevitable failure of the preceding government.

So, as read in the Guardian, Labour may actually have won by losing.  And here are some tunes.  Utterly unrelated tunes!

Toadcast #122 – The Greencast

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01. Loch Lomond – Spine (05.49)
02. The Man From Delmonte – Drive Drive Drive (13.00)
03. The Magnetic Fields – Drive On Driver (15.24)
04. Modernaire – Bloodshed in the Woodshed (21.27)
05. Rats With Wings – Hungry Like the Wolf (29.27)
06. Pet Shop Boys – Rent (36.09)
07. David Bowie – Let’s Dance (40.59)
08. Huey Lewis & the News – The Power of Love (54.50)
09. Glaciers – Brooklyn (61.15)
10. The Moulettes – Bloodshed in the Woodshed (71.25)

Mrs. Toad has been away in China for the last week or so and, frankly, I am jealous.  I am wedded to Edinburgh now, for fairly obvious reasons, but I have always been something of a gypsy, as have my parents, and as such China has held a pretty significant fascination for several years now.

I spent three years in Singapore between the ages of eleven and fourteen and I absolutely loved the place.  Not just Singapore, but all the travelling we did in South East Asia – I was absolutely captivated.

Honestly, if it were not for you musical muppets I would be pestering Mrs. Toad for us to move to China already.

Toadcast #106 – The Sinocast

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01. T’Pau – China in Your Hand (5.12)
02. I Am Oak – Ohayo (10.49)
03. Django Django – Love’s Dart (13.27)
04. Django Reinhart – China Boy (22.49)
05. Clem Snide – Wal-Mart Parking Lot (31.22)
06. Frightened Rabbit – Fun Stuff (33.51)
07. The Shop Assistants – Somewhere in China (41.07)
08. David Bowie – China Girl (46.26)
09. Lincoln – Great Wall of China (51.47)
10. Snapline – S2 (65.31)

This is just a brief list of some stuff I’m looking forward to in the Edinburgh music scene over the coming year.  I don’t intend to be parochial about this, or too narrow, but I am not as close to the precise ins and outs of what’s happening in the rest of the country so there’s a limit to what I can meaningfully say about what’s going on there.  It’s not meant to be exhaustive either, just some thoughts pottering about at the front of my mind.

New Labels

Last year saw the first steps made by a couple of new labels in Edinburgh, Kilter and Mini50.  With Song, by Toad Records virtually at capacity in terms of labour and money, and 17 Seconds and SL Records also really busy, these two new labels should have a pretty free hand in terms of first dibs on emerging bands this year.

Kilter have already showed the quality of their work with the beatiful eagleowl single in December, so in that sense they’re a slight step ahead.  Mini50 have been negotiating with some of the newer bands to emerge in the last year or so though, and album releases by the likes of Mammoeth should give a really solid foundation to their launch.  Basically, this is great news for the city’s young bands.

Jeffrey Lewis – Don’t Let the Record Label Take you out to Lunch

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The New Generation of Bands

Whilst I’m talking about the newer bands to emerge last year, there is a definite gap forming in the local musical ecosystem.  The fact that Broken Records and now Meursault and Withered Hand have graduated to an audience both nationwide and beyond leaves an opportunity for one of the new generation to make a mark locally.

With a single and an EP already to their name, Jesus H. Foxx are slightly further ahead in their development, but with the very promising emergence of bands like the Pineapple Chunks, Conquering Animal Sound and the Last Battle there is the opportunity for a band from the new generation to progress to the stage where they will obviously and easily be able to fill small venues like Sneaky Pete’s and whatever the Roxy management turn the old Bowery space into.

David Bowie – All the Young Dudes

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The New Roxy

And while we’re on the subject of the Roxy, Rupert Thomson, former Skinny editor, has been appointed to run the entire building in the new year.  I have a lot of time for Rupert, so I am really hopeful that he can carry on the development of what is pretty clearly the best gig space for small bands and promoters in the city.  In the absence of Ruth and Jane the place will inevitably have a very different atmosphere, but it is still easily the best space of its type around, so I really hope the new team can continue to foster the underground scene in the capital with the same kind of devotion and sympathy which Ruth brought to the place.  And very nice that they now have a one o’clock license, which is very fortuitous timing indeed for the new venture.

Tom Waits – New Coat of Paint (Live)

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Descent of the Digital Press Locusts

Last year saw the formation of so many new blogs in Scotland it made my head spin.  In fact it actually made me feel like an established veteran.  With respected indie publications like Bearded and Plan B swinging the axe on their print editions and also retreating to the web, we are getting closer to the American press model every day.

In the States there are basically no music magazines left, so labels and bands take blogs way, way more seriously, because we are pretty much the only people left who are addressing their audience.  In the UK there are still some excellent music magazines – Clash, Word, The Stool Pigeon and so on – but glossies like the NME, Q and Uncut are really becoming embarrassingly bad.  Personally I would be surprised if the year passed without a high profile music press casualty, which means that the playing field is unusually open for blogs and other digital publications.  And with the death of music television beyond the insultingly stupid X-Factor and its diseased ilk, pretty much the only music television which exists in the UK is now online.

This general trend could lead to a fairly considerable shift in how online publications are treated over the next year or so and, instead of being considered amateur or grassroots or DIY, we could end up being as close to mainstream as it actually gets in the indie world.

The Clash – Career Opportunities

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That Extra Step

Glasvegas were probably the last really big band to come out of Scotland, in terms of sheer audience size.  Frightened Rabbit, depending on their next album, could follow in their footsteps over the next twelve months.  Do any of the Edinburgh bands, I find myself wondering, have it in them to follow in their footsteps?  Are we likely to ever see the likes of Withered Hand, Meursault or Broken Records get anywhere near a late evening slot on the main stage at a major festival anytime soon?  It would be nice to think so, wouldn’t it.

Aileen Loy & Blue Valentines – Big in Japan

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The Spacecast is yet another podcast dreamed up in the pub, this time between myself and Dylan, the official Song, by Toad photographer.  And again it’s one of those podcast which could have gone on for over two hours quite easily, but we don’t do that anymore, not around here, we’re disciplined these days goddammit.

So I’ve missed off about a million other suggestions and come up with a combination of songs genuinely about space, and few that use space as some sort of metaphor and then a few which just stick a few spacey words in the title.  And of course, it starts with something rather splendid… but you’ll have to listen to find out what it is.  Alright, it’s not that special.  Just mildly amusing.

Toadcast #54 – The Spacecast

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01. Me First & the Gimme Gimmes – Rocket Man (03.52)
02. David Bowie – Space Oddity (07.06)
03. Bob Geldof – Thinking Voyager 2 Type Things (15.09)
04. Inspiral Carpets – Saturn V (24.49)
05. The Only Ones – Another Girl Another Planet (28.30)
06. Shirley Bassey – In Other Words (Fly Me to the Moon) ( 32.36)
07. Yann Tiersen (Black Session w. Neil Hannon) – Life on Mars (36.04)
08. Riff-Raff – I Wanna be a Cosmonaut (41.34)
09. The Holy Modal Rounders – Mr. Spaceman (42.59)
10. Tom McRae – 2nd Law (48.29)
11. Blur – Far Out (51.46)
12. Queen – Flash Gordon Theme (57.30)

Right, given Dadrock seems to be the enduring theme of the moment, let’s poke a little further shall we? Actually, Dadrock in our house was pretty fucking cool. My Dad introduced me to the Waterboys, the Pogues, the Men They Couldn’t Hang, as well as the stuff he grew up with: Neil Young, Bob Dylan, Tom Waits, Bruce Springsteen, The Band and various other classics. Mum wasn’t bad either: Depeche Mode, Bowie, the Stones and The Pet Shop Boys, as well as some splendidly camp pop such as ABC, Erasure, Kate Bush, Elton John (just the early stuff, calm down) and things like that.

There were some moments of genuine shame in there too, to be fair. Who knows, we may look back on the Decemberists with derision for their pretension and intricacy, so you can never entirely tell which music will and won’t age with dignity.

I still make my parents a lot of compilation CDs, even though I don’t make them for myself anymore. In fact, ever since I left home in 1993 I’ve been regularly returning with a little pile of pre-filtered new music for them. I try and steer clear of the Libertines and the Von Bondies, but maybe that’s silly because you know who introduced me to the Dead Kennedys? Yup, my folks.

Having heaped them with praise, it must be confessed that after many years of cool, my Mum did rather embarrassingly lapse into a penchant for the Lighthouse Family. Or, in the recent traditions of this site, the Fucking Lighthouse Fucking Family. Or that Italian clown Eros Ramazotti. Dad has remained pretty steady, to credit the old bastard, but he is still the man who introduced me to Billy Joel, so some responsibility does need to be taken there, irrespective of the quality of Captain Jack and Piano Man.

So if you’re lurking, lurk no more. Now is the time to come out of the woodwork and alternately shame and praise your family. Come on, they can’t be all bad.

1. Your Mum’s most shameful crime against music.
2. The coolest thing your Mum listens to.
3. Your Dad’s worst moment of musical shame.
4. Dad’s moment of musical triumph.
5. The most shameful musical thing that you and your folks have in common.

David Bowie – Let’s Dance
The Men They Couldn’t Hang – Scarlet Ribbons
Depeche Mode – People Are People
Bob Dylan – Drifter’s Escape
Pet Shop Boys – What Have I Done to Deserve This

Hannah from Modernaire rather kindly sent through this George Orwell essay which I rather like, especially the bit about the Toad (I assure you there is no such thing as a ‘common’ Toad, whatever George may think).

Maybe we should all step away from these pernicious computer machines, and go and lark about, carefree in the springtime lushness.

The excerpt was from ‘SomeThoughts on the Common Toad’ and whilst I object to his scurrilous accusations of lower class toadery which, as a species, we vigorously refute, it makes a nice read. Orwell may have been a stodgy novellist, by which I mean that his intellectual achievements as a writer outsrip the actual enjoyment of reading his fiction, but he was a truly excellent essayist. Anyone who is yet to read “The Decline of the English Murder” should do so immediately. But this is not really a literary site, so let’s leave it to George, shall we:

“Is it wicked to take a pleasure in Spring and other seasonal changes? To put it more precisely, is it politically reprehensible, while we are all groaning, or at any rate ought to be groaning, under the shackles of the capitalist system, to point out that life is frequently more worth living because of a blackbird’s song, a yellow elm tree in October, or some other natural phenom¬enon which does not cost money and does not have what the editors of Left-wing newspapers call a class angle? There is no doubt that many people think so… People, so the thought runs, ought to be discontented, and it is our job to multiply our wants and not simply to increase our enjoyment of the things we have already. The other idea is that this is the age of machines and that to dislike the machine, or even to want to limit its domination, is backward-looking, reactionary and slightly ridiculous.

I have always suspected that if our economic and political problems are ever really solved, life will become simpler instead of more complex, and that the sort of pleasure one gets from finding the first primrose will loom larger than the sort of pleasure one gets from eating an ice to the tune of a Wurlitzer. I think that by retaining one’s childhood love of such things as trees, fishes, butterflies and – to return to my first instance – toads, one makes a peaceful and decent future a little more probable, and that by preaching the doctrine that nothing is to be admired except steel and concrete, one merely makes it a little surer that human beings will have no outlet for their surplus energy except in hatred and leader-worship.”

There’s not a lot of music related to Orwell that I can think of, although I assume there must be loads out there. Animal Farm and 1984 have entered into the popular imagination such that people use metaphors from these books all the time, even if they have no idea where they came from.

For Animal Farm (tenuous, these two):
Cocorosie – Animals
The Beatles – Piggies
For 1984:
Alanalda – There is Always Someone Watching
Tina Turner – 1984
David Bowie – 1984 (Live)
For Down and Out in Paris and London:
The Divine Comedy – In and Out in Paris and London
There must be some more though, surely? Help me out here people.

I assume you all know Jacques Brel, one of very, very few songwriters to write in a language other than English to actually be able to penetrate Western cultural awareness. In fact, I read here that Mojo magazine conducted a poll of British and American songwriters in 2000 and apparently Brel’s Ne Me Quitte Pas was the only non-English song to make the resulting list of the Greatest Songs of All Time.

Jacques Brel – Ne Me Quitte Pas

Given the fact that his songs have made such an impact on their own merit, and given that apart from writing some songs in Flemish, he never strayed from French, it seems a little odd to me that absolutely everyone who covers Jacques Brel seems to do so in English. Only such luminaries as Nina Simone and, erm, Sting have actually sung his songs in French, which seems amazing.

Nina Simone – Ne Me Quitte Pas

Artists are snobbish bastards so I am a little surprised that so few people have managed to eschew the grand pretension of covering someone so enormously credible in his native tongue – and not just any native tongue, the eminent cultural bastion that is French, no less. Is that too cynical? I really doubt it.

Secondly, respect for the integrity of art is quite important to people, in particular other artists, so I am a little surprised that people have been so quick to accept such a cavalier attitude. Mind you, most Brel translations are actually contemporary with his own work, and people seemed to be a little less precious about that sort of thing back then (in the music industry at least – don’t say that to a modern film-maker). Perhaps their age gives them a peculiar sheen of credibility, something I imagine they’d lack if done today.

The most popular translations are the Blau-Shuman ones, but Scott Walker seems to use those of Rod McKuen in his own many Brel covers – brought together brilliantly in Scott Walker Sings Jacques Brel. A superficial glance at the actual work makes them look a little flimsy though.

Scott Walker – Mathilde

Wikipedia cites this McKuen example, which is pretty awful:

“Moi, je t’offrirai / Des perles de pluie / Venues de pays / Où il ne pleut pas” [As for me, I'll offer you pearls of rain that come from a country where rain never falls].
Translates as:
“But if you stay / I’ll make you a day / Like no day has been / or will be again.”

Woeful.

Brel is famous for his lyrics, too. Evocative and sharp, bitter and cynical at times, and an absolutely integral part of his work. I keep thinking of the Asterix books and how the translation managed to remain so inspirationally true to the original humour. Never mind the books themselves, the actual translations were a serious master work in their own right. It’s sad, as much as anything, that despite large numbers of covers of his songs, almost no-one seems to have taken the time to actually put the work into the lyrics as well as the music. And as I said, this is not an industry that lacks for monumental acts of self-aggrandising pretension artistic ambition.

I can understand, grudgingly, why people insist on singing translations – there’s no point singing songs by someone famed for his acerbic wit if your audience can’t understand a word – but why people are paying so little attention to which translation they use and why is a little disappointing.

Professor Arnold Jonhston is the only man who has translated his stuff to a standard acceptable to Brel’s widow, and has recorded an album of these translations. I can’t find it anywhere, but I have to say I am as dubious about a musical work by an academic as I am about a literary translation by a musician, although if anyone wants to mention Toms Stoppard and Lehrer here they should feel free. I’d like to hear that album though, if anyone has any suggestions.

Other than that, I’m not really sure where I’m going with this. It was all started by Richard Godwin sending his music through to me for a listen. He has a lovely style that is somewhat similar to Jacques Brel, and he covers Brel himself. It’s not the same translation as Scott Walker used though, and I don’t think I recognise it at all. Anyhow, I started listening to some other Brel songs and it all snowballed from there really.

Right. I’m off to the pub. Have a good weekend, Toadlings.

Richard Godwin – Next! (Brel cover)
Jacques Brel – Au Suivant
Dusty Springfield – If You Go Away
Jacques Brel – Les Bourgeois
David Bowie – Amsterdam

Jacques Brel on Amazon