Welcome to the first Midweek Song List of June — that curious stretch of the calendar when the weather can’t make up its mind, the festivals begin to stir, and Home Bargains quietly prepares its first wave of Christmas stock. Brace yourselves.
As ever, today’s selection is gloriously eclectic. Only here would you find Motörhead rubbing shoulders with Mozart, or a Canadian post‑punk upstart sharing space with a 1960s dance‑floor classic. It’s the sort of musical chaos we’ve come to cherish.
Before we dive in, a quick thank‑you to the reader who sent us Home Front’s ‘Light Sleeper’ (above). They’re convinced the band is Canada’s next major export. We’re keeping an open mind — but the track certainly has a restless, synth‑driven energy that’s hard to ignore. Let us know what you think.
We’re long‑standing admirers of Blondie. ‘Denis’ (above) remains one of our favourites. A reimagining of Randy & The Rainbows’ ‘Denise’, it introduced Blondie to the UK in 1978. Deborah Harry even added a verse in French to justify the name and gender switch. Punk roots, new‑wave sheen — and, dare we say it, a whisper of glam. Not the glitter‑bomb kind, but something ineffable that made them stand out.
From there we shift to Green Day’s ‘Boulevard of Broken Dreams’, one of the defining tracks of American Idiot. It’s a lonely‑walk anthem wrapped in post‑punk melancholy — a song that captured the disillusionment of the early 2000s with a melody that still hits like a punch to the ribs.
We then head back to the 60s with Little Eva’s ‘The Loco‑Motion’. Joyous, bouncy, and utterly irresistible, it’s a dance‑floor classic whose hand‑clap rhythm and locomotive swing have kept it alive through countless revivals. If anyone has stories about seeing Little Eva live, we’d love to hear them.
Merle Haggard’s ‘America First’ brings us something more reflective. A late‑career track with Haggard’s trademark Bakersfield warmth, it’s understated, melodic, and plainspoken — a reminder of his ability to capture the mood of ordinary people with unvarnished clarity.
Then we slam the throttle forward with Motörhead’s ‘Bomber’ . Fast, loud, and unapologetically raw, it’s Lemmy and co. in full flight — a low‑flying riff that feels like it’s skimming the treetops.
From there, a sharp left turn into classical elegance with Mozart’s ‘Eine Kleine Nachtmusik’. Bright, precise, and instantly recognisable, it’s the musical equivalent of a perfectly cut diamond — timeless and sparkling.
Today also marks the end of our mini‑series commemorating the centenary of the 1926 General Strike. We close with ‘Solidarity Forever’ — not the Pete Seeger version, but the stark, resonant interpretation by The Nightwatchman, Tom Morello’s politically charged solo project. A fitting tribute to collective struggle.
Speaking of reinterpretations, have a listen to Wilson Pickett’s version of ‘Hey Jude’ The Beatles’ original is so familiar it’s practically part of our DNA, but Pickett drenches it in soul, pushing the song into raw, emotional territory. We’re torn — but what’s your verdict?
We also revisit Fergal Sharkey’s ‘A Good Heart’, an 80s pop gem powered by Sharkey’s unmistakable quiver of a voice. Glossy, heartfelt, and surprisingly bittersweet beneath the synth sheen.
From there, something more off‑kilter: The Smashing Pumpkins’ ‘Jellybaby’. A lesser‑known cut that blends fuzzed‑out guitars with dreamy sweetness — a glimpse of the band’s more playful side.
And finally, we close with The Undertones’ ‘Teenage Kicks’. Two minutes of pure pop‑punk perfection. Energetic, innocent, and bursting with adolescent longing, it remains one of the most beloved singles ever recorded — and John Peel’s all‑time favourite for good reason.
OTHER COUNTER CULTURE FEATURES
We’ve also begun producing Songlist Specials.
Our first celebrated the Old Grey Whistle Test.
Our second and third explored early West Coast punk.
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