Posts Tagged Morrissey

Counter Culture – Midweek Song List (169)

October 14, 2026 at 4:03 pm · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , ,

One of the pleasures of putting together the Midweek Song List is never knowing quite where the music will take us. This week we’re travelling from the ancient landscapes of English folk mythology to the industrial might of German metal, with stops along the way for 1950s-inspired rockabilly, American punk, classical light music and some intriguing cover versions.

That’s quite a journey, but variety has always been the point. There’s no reason why someone who enjoys Queen shouldn’t also discover the unsettling world of Flipper, or why a fan of hard rock shouldn’t find something to appreciate in the gentle orchestral beauty of Ronald Binge’s Sailing By. Good music doesn’t recognise the artificial boundaries we sometimes impose upon it.

There are also some interesting stories behind this week’s selections. We’ve got a song that became world-famous only after another singer recorded it, a Motörhead classic performed by an unlikely collection of rock celebrities, and a Roy Orbison hit given a new interpretation more than half a century after its original release.

And for anyone who has wondered what Rammstein are actually singing about, we’ll attempt to shed a little light on that as well.

So put aside your musical prejudices, turn up the volume and see where this week’s selection takes you.

Albion – Witch of the Westmorland

We begin with a song steeped in mystery and folklore. The Witch of the Westmorland was written by Scottish singer-songwriter Archie Fisher and has been interpreted by numerous folk performers over the years.

The story concerns a wounded knight seeking the help of a mysterious woman whose supernatural powers offer the possibility of healing. It draws upon the atmosphere and imagery of traditional British balladry, even though the composition itself is comparatively modern.

Albion bring a heavier approach to the material, blending folk melodies with rock and metal instrumentation. The result has much of the atmosphere of an ancient tale being told around a fire, but with considerably more amplification.

It’s a good example of how traditional storytelling can survive quite happily within contemporary musical forms.

YouTube: https://www.youtube.com/watch?v=8PHiZnRI3Rk

Artillery – Turn Up the Rage

Denmark has produced some formidable heavy metal bands, and Artillery have been among its most enduring contributions to the genre.

Formed in the early 1980s, the group became associated with the European thrash metal movement, developing a style built around aggressive guitar riffs, rapid rhythms and technically demanding musicianship.

Turn Up the Rage comes from their 2021 album X, released in May that year. The title reflects the fact that it was their tenth studio album.

The track demonstrates that thrash doesn’t necessarily have to sacrifice melody in pursuit of speed. There’s precision behind the aggression, with tightly controlled guitar passages and a powerful rhythmic foundation.

Not exactly suitable for a quiet Sunday afternoon, perhaps, but there’s something refreshing about music that makes absolutely no apology for its intensity.

YouTube: https://www.youtube.com/watch?v=-1yVzWY4scY

Around About Dusk – Without You

Time for a change of pace.

Around About Dusk offer a very different musical atmosphere from the thunderous approach of Artillery. Without You takes us into a more intimate world, where melody, mood and musical texture matter more than volume.

What appeals here is the way the performance allows the song room to develop. Rather than relying on spectacular production or sheer force, the arrangement invites the listener to pay attention to the interplay between the instruments and the emotional quality of the delivery.

It’s also the sort of selection that illustrates why we try to feature less familiar performers alongside established names.

There is always something satisfying about discovering music without the baggage of reputation or commercial expectations. Sometimes the best approach is simply to listen and decide for yourself.

YouTube: https://www.youtube.com/watch?v=0k0bt_4WuxA

Ronald Binge – Sailing By

For many British listeners, this piece will be instantly familiar even if the composer’s name isn’t.

Ronald Binge composed Sailing By in 1963. The gentle orchestral waltz became closely associated with BBC Radio 4’s late-night Shipping Forecast, where it has provided an unmistakable musical introduction to reports of weather conditions around the British coastline.

Binge was an accomplished composer and arranger associated with the British light-music tradition. His best-known compositions also include Elizabethan Serenade.

There’s something peculiarly comforting about Sailing By. Its graceful melody and unhurried movement seem to belong to a world in which life proceeds at a more civilised pace.

For generations of listeners, its association with the Shipping Forecast has given it an almost ritual significance.

You don’t need any knowledge of classical music to appreciate it. Sometimes a beautiful tune is enough.

YouTube: https://www.youtube.com/watch?v=9Nea287VfmU

Flipper – Ha Ha Ha

And now we abandon tranquillity altogether.

Flipper emerged from San Francisco’s punk underground around 1979 and developed a sound that was deliberately awkward, abrasive and resistant to the conventions of mainstream rock.

Where many punk bands relied upon speed, Flipper often favoured repetitive bass lines, discordant guitars and a slow, grinding intensity.

Ha Ha Ha captures their confrontational spirit particularly well. The humour is bitter, the sound deliberately rough and the performance seems almost designed to irritate anyone expecting conventional musical entertainment.

Yet Flipper’s influence extended well beyond their original underground audience. Their unconventional approach helped shape elements of American alternative rock, and Kurt Cobain was famously photographed wearing a homemade Flipper T-shirt.

This is music that challenges rather than reassures. Whether you love it or hate it, indifference seems an unlikely response.

YouTube: https://www.youtube.com/watch?v=E6PNmvio1GM

Hollywood Vampires – Ace of Spades

Few rock songs announce themselves quite as dramatically as Motörhead’s Ace of Spades.

Originally released in 1980, it became the group’s defining anthem, driven by Lemmy Kilmister’s unmistakable vocals, Phil Taylor’s relentless drumming and Eddie Clarke’s ferocious guitar work.

Hollywood Vampires approach the song as a tribute to Lemmy and his contribution to rock music.

The supergroup features Alice Cooper, Johnny Depp, Joe Perry and Tommy Henriksen. This performance was recorded at the Montreux Jazz Festival in 2018, with bassist Chris Wyse handling lead vocals, and was released in 2026 as part of the group’s live-album project.

Covering something so closely identified with its original performer is always risky. Fortunately, Hollywood Vampires understand that the answer isn’t to imitate Lemmy.

Instead, they celebrate the sheer excitement of the song.

There’s no attempt to reinvent the wheel. Just loud guitars, tremendous energy and an affectionate salute to one of rock’s great characters.

YouTube: https://www.youtube.com/watch?v=YIJth479y4w

Mark James – Suspicious Minds

Here’s a reminder that a great song doesn’t always become a hit the first time somebody records it.

Most people associate Suspicious Minds with Elvis Presley, whose 1969 recording became one of his greatest successes. But the song was written and originally recorded by American singer-songwriter Mark James in 1968.

James, whose real name was Francis Rodney Zambon, recorded the song at Chips Moman’s American Sound Studio in Memphis. His version was released on the Scepter label but failed to make a commercial impact.

Elvis recorded it the following year, using many of the same studio musicians and retaining much of the original arrangement. His performance transformed the song into a major international hit and gave him his first American number one single in seven years.

There’s an interesting story behind the recording, too. Producer Chips Moman resisted attempts by Elvis’s management to claim a share of the publishing rights, and the dispute nearly prevented the record from being completed.

Listening to the Mark James original is a fascinating experience. You can hear just how much of the famous arrangement was already there. What Elvis brought was a particular vocal intensity and dramatic authority.

It raises a question worth considering: how many other brilliant songs were originally recorded by someone other than the performer who made them famous?

YouTube: https://www.youtube.com/watch?v=mFP0EP-Oi2I

John Mayer – Free Fallin’

Originally written by Tom Petty and Jeff Lynne, Free Fallin’ appeared on Petty’s enormously successful 1989 solo album Full Moon Fever.

The original recording is one of those deceptively simple songs that seems effortless, although its combination of melody, atmosphere and carefully judged production reveals considerable craftsmanship.

John Mayer’s interpretation takes a different approach.

His acoustic performance, recorded at the Nokia Theatre in Los Angeles in December 2007 and released on the 2008 concert album Where the Light Is, strips the song back to its essentials. Accompanied by fellow guitarists, Mayer allows the melody and lyrics to carry the emotional weight.

There’s a vulnerability in this version that contrasts with the expansive, radio-friendly sound of Petty’s recording.

A good cover version should bring something new to the material without losing what made the original special. Mayer manages that rather well.

YouTube: https://www.youtube.com/watch?v=vLihs7GFSP4

Morrissey – It’s Over

Roy Orbison possessed one of the most remarkable voices in popular music. His ability to move from restrained melancholy to soaring emotional intensity was almost unmatched.

It’s Over, written by Orbison and Bill Dees, was released in 1964 and reached number one in Britain.

The song’s dramatic structure is particularly interesting. Rather than relying on a conventional upbeat chorus, it builds gradually towards a devastating emotional climax.

Morrissey’s interpretation appeared on his 2019 covers album California Son, which featured songs originally associated with performers including Bob Dylan, Joni Mitchell and Phil Ochs. His recording of It’s Over also features guest vocals from American singer LP.

Morrissey has never made a secret of his admiration for Orbison, and this version makes that affection apparent.

His distinctive vocal style brings a different kind of melancholy to the song. Where Orbison sounds almost operatic in his despair, Morrissey gives the material a more theatrical and sometimes fragile quality.

Whether it improves upon the original is another matter. Orbison set an extraordinarily high standard.

But it’s certainly worth hearing.

YouTube: https://www.youtube.com/watch?v=q3yNAg67u_c

Queen – Seven Seas of Rhye

Before Bohemian Rhapsody, before the stadium anthems and before Queen became one of the biggest bands in the world, there was Seven Seas of Rhye.

Written principally by Freddie Mercury, the song first appeared as a short instrumental on Queen’s self-titled debut album in 1973.

The fully developed version appeared on Queen II the following year and became the band’s first British Top Ten single, reaching number ten.

It also helped establish Queen’s extraordinary musical ambition. The combination of Mercury’s commanding vocals, Brian May’s layered guitars and the group’s elaborate harmonies gave the song a theatrical quality that distinguished them from many contemporary rock acts.

The mysterious kingdom of Rhye was part of Mercury’s imaginative fantasy world, which also influenced other early Queen compositions.

There’s something wonderfully extravagant about the whole enterprise. Even at this early stage, Queen were clearly uninterested in doing things by halves.

The song also provided an early indication of Mercury’s extraordinary ability to make the fantastic sound completely convincing.

YouTube: https://www.youtube.com/watch?v=prIK-inpWGk

Rammstein – Was Ich Liebe

German industrial metal band Rammstein have built an international reputation on thunderous music, provocative imagery and spectacular stage performances.

Their concerts are famous for elaborate theatrical effects, particularly their extensive use of fire and pyrotechnics.

Was Ich Liebe, which translates as What I Love, appeared on the band’s untitled 2019 album.

The song explores a distinctly unsettling idea: that love and happiness contain the seeds of suffering, and that attachment inevitably creates the possibility of loss.

In other words, this is not exactly a cheerful romantic ballad.

Musically, however, it is magnificent.

Rammstein’s combination of crushing guitar riffs, controlled rhythms and Till Lindemann’s distinctive baritone creates an atmosphere that is both threatening and strangely majestic.

There’s an almost ceremonial quality to the performance. The music builds with deliberate precision, producing something closer to industrial theatre than conventional heavy metal.

And perhaps that’s part of the fascination of Rammstein. Even listeners who understand little German can appreciate the drama, power and extraordinary attention to presentation.

As for the lyrics, they’re considerably more philosophical than an homage to chocolate teapots.

YouTube: https://www.youtube.com/watch?v=iI-fPa4jwRc

Stray Cats – Rock This Town

We’ll finish with something guaranteed to get your feet moving.

The Stray Cats emerged from New York at the end of the 1970s, but it was in Britain that they first achieved major commercial success.

The trio consisted of Brian Setzer on guitar and vocals, Lee Rocker on double bass and Slim Jim Phantom on drums.

Inspired by the rockabilly music of the 1950s, they combined the energy of early rock ‘n’ roll with the attitude and visual style of the punk era.

Rock This Town, written by Setzer and produced by Dave Edmunds, became a British hit in 1981, reaching number nine. It subsequently enjoyed similar success in America in 1982.

The song is a joyous celebration of rock ‘n’ roll.

Setzer’s lightning-fast guitar playing is particularly impressive, drawing upon the influence of performers such as Eddie Cochran and Gene Vincent without sounding like a museum-piece imitation.

The rhythm section is equally important. Rocker’s slap-bass technique and Phantom’s stripped-down drumming give the performance its infectious momentum.

It’s a splendid reminder that musical revivalism doesn’t have to mean simply copying the past. The Stray Cats took an established style and made it exciting for a new generation.

And what better way to finish this week’s selection?

YouTube: https://youtu.be/QCK0N-kkDrU?si=IwXVwGpxxEc3lP-s

A final thought

One of the recurring themes this week has been the relationship between original recordings and cover versions.

Mark James wrote and recorded Suspicious Minds before Elvis Presley turned it into a worldwide hit. John Mayer brought a new intimacy to Tom Petty’s Free Fallin’, while Morrissey tackled the considerable challenge of interpreting a Roy Orbison classic.

Then there’s Hollywood Vampires paying tribute to Motörhead.

All of which raises an interesting question.

Can you think of a song that became much more successful in someone else’s hands than it was for the original performer?

One example that immediately springs to mind is I Love Rock ‘n’ Roll. Originally recorded by the Arrows in 1975, it became an enormous hit for Joan Jett and the Blackhearts in 1982.

There must be plenty more.

Let us know your suggestions, along with your favourites from this week’s selection.

 

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Counter Culture – Midweek Song List (158), 22 July 2026

July 23, 2026 at 2:29 pm · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , , , ,

We’ve always said Counter Culture is as much about history as it is about music, and this month that’s been impossible to ignore. The Battle of the Somme began 110 years ago, on 1 July 1916, and the scale of loss still has the power to stop you in your tracks. Very few British units reached their objectives on that first day; the 36th (Ulster) Division was one of the exceptions, though the cost was appalling. More than 2,000 men killed on 1 July alone, and roughly 5,500 casualties within forty‑eight hours. Their sacrifice is marked today by the Ulster Tower at Thiepval — a quiet, stark reminder of what was spent in those fields.

With that in mind, we turn to music not as escapism, but as a way of lifting the spirits without forgetting the weight of the past. This week’s list is a proper spread: rockabilly oddities, neofolk underground, chart‑topping ballads, 60s pop, glam rock tenderness, and even a frog with a banjo. Variety is the point.

THE SONGS

The Baboons – “Drinkin’ Gasoline”

Belgium’s Baboons have always been a curious outfit — rockabilly at heart, but with a scruffy garage edge that keeps them from ever sounding nostalgic. “Drinkin’ Gasoline” is one of their rowdier numbers, all swagger and twang, the sort of track that feels like it’s been recorded in a bar where the walls sweat.

Blue Man Group – “I Feel Love”

Blue Man Group sit somewhere between performance art, percussion ensemble and fever dream. Their take on Donna Summer’s “I Feel Love” is exactly what you’d expect: metallic rhythms, alien‑blue faces, and a strange hypnotic pulse. Compared to them, Kermit really is the conservative option.

Celine Dion – “My Heart Will Go On”

The song that swallowed the late 90s whole. Written by James Horner and Will Jennings, and delivered with Dion’s trademark emotional precision, it became one of the best‑selling singles of all time. Whatever you think of Titanic, this track is a masterclass in the power‑ballad tradition.

Tim Hardin – “Reason to Believe”

Hardin’s songwriting has a fragility that few artists ever manage. “Reason to Believe” has been covered endlessly — Rod Stewart made it famous — but Hardin’s original remains the most affecting. Sparse, wounded, and utterly sincere.

Don Henley – “Boys of Summer”

Henley’s solo masterpiece. Co‑written with Mike Campbell of Tom Petty’s band, it’s a song about ageing, longing, and the ghosts of summers past. Synths, melancholy, and one of the great choruses of the 80s.

Tommy James & The Shondells – “I Think We’re Alone Now”

Before Tiffany turned it into a mall‑pop anthem in 1987, Tommy James delivered the original in 1967 — a bright, slightly psychedelic slice of American pop that climbed to No. 4 in the US charts. A reminder that the 60s weren’t all guitars and protest songs.

Elton John – “Sorry Seems to Be the Hardest Word”

One of Elton’s most restrained and heartbreaking ballads. Released in 1976, written with Bernie Taupin, and built around a simple piano line that carries the whole emotional weight. A song about regret that never slips into melodrama.

Kermit the Frog – “Rainbow Connection”

Jim Henson’s gentle, searching voice made this song an unlikely chart success, reaching No. 25 in 1979. Written by Paul Williams and Kenneth Ascher, it’s become a modern standard — wistful, hopeful, and strangely profound for a puppet with a banjo.

Morrissey – “It’s Over”

Morrissey’s 2019 cover of the Roy Orbison classic appears on California Son, an album of reinterpretations. He leans into the drama of the song, giving it a sweeping, orchestral sadness.

Billy Odal (featuring Death in Rome) – “Connewitz”

Death in Rome have built a cult following by reimagining pop songs as neofolk dirges. Here they lend their shadowy aesthetic to Billy Odal, producing something atmospheric, unsettling, and oddly beautiful.

Mark Ronson & Miley Cyrus – “Nothing Breaks Like a Heart”

Ronson’s production meets Cyrus’s gravel‑edged vocal in a track that blends country, disco, and heartbreak. Released in 2018, it’s one of the strongest singles either artist has put out in years.

Slade – “Everyday”

A request from a long‑time reader. Slade began life as a skinhead band before becoming glam rock royalty, but “Everyday” shows a different side of them. Noddy Holder’s voice — usually associated with riotous choruses — proves surprisingly tender here.

A QUESTION TO END ON

Kermit reached the US Top 25 with “Rainbow Connection”. Can you think of another unusual song from a puppet‑related film or TV show that managed to chart as a single? Answers welcome — the stranger the better.

Songlist Specials – themed collections exploring particular scenes or eras:

Old Grey Whistle Test

West Coast Punk 1977–78

West Coast Punk (2)

West Coast Punk (3)

We’re also on X (formerly Twitter): @culture89289

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Midweek Song List – 15 July 2026

July 15, 2026 at 12:11 pm · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , , , , , ,

Regular readers will know we’ve been knee‑deep in the Battle of the Somme lately. We’ll pick that thread up again next week, but while the Great War is still echoing in the background, have a look at this remarkable interview.

Last Sunday — 12th July — carried its own historical weight. England quietly celebrated its 1099th birthday, the moment in 927 AD when King Æthelstan pulled the old Heptarchy into a single kingdom. East Anglia, Essex, Kent, Mercia, Northumbria, Sussex, Wessex: seven identities folded into one.

It was also the anniversary of the Battle of the Boyne, William of Orange’s victory over James II in 1690 — still marked by huge parades across Ulster, the biggest indigenous folk festival in Europe.

History done. Time for music.

GARY GLITTER – “I Love You Love Me Love”

 

We’ve featured Glitter before — a deeply flawed and predatory figure, but undeniably central to glam rock. “I Love You Love Me Love” slows the tempo right down, which only makes the handclaps and chant feel bigger. The exaggerated movement, the glitter, the theatre — all the reasons he was dubbed “Mr Glam” are baked into this track.

LÉGION ÉTRANGÈRE – “Le Boudin”

 

A couple of weeks ago we had The Black Watch Pipes & Drums on the list — the first military band ever to appear here. This week, we’re back in uniform with the French Foreign Legion. “Le Boudin” is their official march, hypnotic and relentless. Even with shaky French, it pulls you in.

MY DYING BRIDE – “The Poorest Waltz”

Doom metal slows everything down — the riffs, the mood, the heartbeat. My Dying Bride, Bradford’s finest, helped define the genre. “The Poorest Waltz” is a perfect example: mournful, theatrical, and heavy without needing speed. Give it a listen and tell us what you make of it.

BILL WITHERS – “Ain’t No Sunshine”

 

Withers’ voice is one of those instantly recognisable instruments — warm, weary, human. “Ain’t No Sunshine,” from his debut album Just As I Am, remains one of the great soul laments. The Old Grey Whistle Test performance we’ve linked is from 1972, when we were far too young to remember it, but the emotional punch is still there.

THE EAGLES – “Hotel California”

A song that’s become shorthand for American excess and disillusionment. The guitar interplay in the outro remains one of rock’s great moments.

HEART – “Stairway to Heaven” (Live)

 

Heart’s Kennedy Center performance is one of the rare covers that genuinely honours the original. Ann Wilson’s vocal control is extraordinary.

PAUL HEATON & JACQUI ABBOTT – “Since You’ve Been Gone”

 

Heaton and Abbott continue to produce warm, sharply observed pop with real heart.

MORRISSEY – “Everyday Is Like Sunday”

 

A bleak hymn to seaside desolation. One of his finest solo tracks.

W. BRENT SAWYER – “Both Sides Now”

 

A gentle, melancholy take on Joni Mitchell’s classic.

JOE STRUMMER & THE MESCALEROS – “I Fought the Law”

Strummer revisits a song he helped immortalise. The Mescaleros era suited him — loose, global, political.

SPLODGENESSABOUNDS – “Two Little Boys”

Chaotic, affectionate, slightly unhinged — exactly what you’d expect from Splodgenessabounds.

THE SMASHING PUMPKINS – “Jellybaby”

A deep cut with unmistakable Corgan DNA.

 

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Counter Culture – Midweek Song List 08/07/26

July 9, 2026 at 10:20 am · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , ,

Our last Song List went out on Wednesday 1st July , and it happened to fall on a grim anniversary: 110 years since the first day of the Battle of the Somme . The campaign dragged on until 18 November 1916 , leaving a combined British, German and French casualty figure of well over one million, with 300,000 deaths . The Tyneside Irish and Tyneside Scottish battalions of the Northumberland Fusiliers were hit hardest — around 8,000 casualties on day one .

Numbers like that are obscene. They should echo whenever a politician starts rattling sabres and urging the UK to back another round of US military intervention somewhere in the world .

With the anti‑war homily out of the way, we bring you music .

Louis Armstrong – What A Wonderful World

We begin with Satchmo — born 1901 in New Orleans — a man who didn’t just play jazz, he re‑shaped it. Armstrong’s trumpet style, forged in the clubs of Storyville, helped drag jazz from ensemble playing into the era of the virtuoso soloist. By the time he recorded What A Wonderful World in August 1967 , he was already a global icon. The song itself was written as a counterpoint to the turbulence of the late 60s — Vietnam, civil rights struggles, assassinations. It topped the UK charts in April 1968 , offering a moment of calm in a year that had very little of it. You like it for the voice — gravelly, warm, unmistakable — and for its unhurried optimism .

Benedict Cork – Have A Good Life (See You Never)

Our first reader recommendation. Cork, from Hertfordshire , is one of those artists who seems to have arrived fully formed: sharp songwriting, clean production, and a knack for melodies that stick. The track is a bittersweet pop gem — upbeat on the surface, quietly bruised underneath. You noted that if there’s any justice, he’ll become a household name . Hard to disagree.

The Offspring – Blitzkrieg Bop (Ramones cover)

This came from a reader answering the question raised in issue 153. You’d featured Agnostic Front’s cover of the Ramones classic and asked who’d done the most memorable version. The Offspring’s take is fast, faithful, and full of energy — a US rock band covering a US punk anthem, keeping the spirit intact . The original Blitzkrieg Bop (1976) was the Ramones’ opening salvo: two minutes of pure down‑stroke guitar, shouted vocals, and the birth of American punk. The Offspring lean into that heritage rather than modernising it, which is precisely why the cover works.

Johann Sebastian Bach – Prelude No. 1 in C Major

A palate cleanser. Bach wrote the Prelude as part of The Well‑Tempered Clavier (1722), a collection designed to show that music could be written in all 24 major and minor keys — revolutionary at the time. The piece is deceptively simple: arpeggios rising and falling like breath. You joked that if you’re not calm after listening, you may need urgent medical help . It’s the kind of music that resets the room.

The Interrupters – Take Back The Power

Our third reader recommendation. The Interrupters emerged from the Los Angeles ska‑punk revival, carrying the torch lit by bands like Rancid and Operation Ivy. Take Back The Power is built for movement: brass stabs, driving rhythm, and Aimee Interrupter’s unmistakable voice — the thing you singled out as especially powerful . It’s political without preaching, catchy without pandering, and exactly the kind of track that earns repeat plays.

Anonymous Ulster – Brothers From Across The Water

A nod to your fascination with obscure artists and genres . This track sits in the tradition of Ulster folk storytelling — rough‑edged, earnest, and rooted in cross‑border identity. It’s the kind of song that feels like it belongs to a place rather than a market.

Fugees – Killing Me Softly

Lauryn Hill’s vocal on this track remains one of the defining performances of the 1990s. The song itself began life in 1973 with Roberta Flack, but the Fugees’ version turned it into something else entirely — hip‑hop soul with a heartbeat. It’s a reminder of how reinterpretation can eclipse the original without erasing it.

Orange Juice – Rip It Up

Post‑punk meets pop in one of Scotland’s most infectious tracks. Released in 1983, Rip It Up was a pivot point: Edwyn Collins blending punk’s angularity with Chic‑style funk guitar. It’s a song that sounds like a band discovering colour after years of monochrome.

Morrissey – The More You Ignore Me The Closer I Get

Mid‑90s Morrissey: melodic, sardonic, and steeped in irony. Released in 1994, the track was one of his biggest solo hits, built around obsession, humour, and a hook that burrows in. It’s Morrissey doing what he does best — unsettling charm.

Slade – Mama Weer All Crazee Now

A glam‑rock riot from 1972. Slade specialised in songs that sounded like Friday night in a Midlands pub — loud, loose, and designed for maximum chaos. This track is pure energy: stomping drums, shouted vocals, and a chorus built for crowds.

Slipknot – The Devil In I

Modern metal with theatrical flair. Released in 2014, the song marked a shift in Slipknot’s sound — still aggressive, but more melodic, more controlled. It’s a track about identity, masks, and the parts of ourselves we’d rather not meet.

Will.i.am – Heart Breaker

A glossy, beat‑driven pop track from the late 2000s. Will.i.am’s production style — sharp edges smoothed into radio‑friendly shine — is all over this one. It’s sleek, synthetic, and built for dancefloors.

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10/06/26 – Counter Culture – Midweek Song List (152)

June 11, 2026 at 9:48 am · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , , , , ,

“Rain, rebellion, synthesisers and Southern swagger — your midweek cultural tonic.”

Many people regard June as the start of Summer, but so far the weather has been so relentlessly wet that even the ducks are filing formal complaints. The fish are threatening industrial action. And last week’s joke about Christmas stock appearing in Home Bargains? We said “August” — but given the rumours that they’re planning to rescue Denby pottery, perhaps we’ll forgive them if the baubles come early. If a major British ceramics brand and hundreds of jobs can be saved, that’s a Christmas miracle we’ll happily take in June.

 

But enough meteorology and retail speculation. Time to turn to the real business of the week: music.

This edition takes us from the snarling birth of punk to the shimmering synths of early New Wave, from Southern rock swagger to Californian sunshine pop, from communal singing to glam-rock provocation. A proper Counter Culture spread — eclectic, historically grounded, and always with an eye on the cultural currents beneath the tunes.

Let’s dive in.

GNARLS BARKLEY – Crazy

When Crazy landed in 2006, it felt like a song that had always existed — a modern standard arriving fully formed. CeeLo Green’s soulful, wounded vocal sits atop Danger Mouse’s cinematic production, built around a haunting sample from Gianfranco Reverberi’s 1968 spaghetti‑western score Nel Cimitero di Tucson. The track became the first ever UK No.1 based solely on downloads, signalling a shift in how music would be consumed.
It’s a song about losing your grip on reality, yet it’s delivered with such swagger that it feels liberating rather than despairing — a rare trick.

THE BEACH BOYS – Fun, Fun, Fun

Released in 1964, this is the Beach Boys at their most effervescent: teenage rebellion, fast cars, and harmonies so bright they could power the national grid. Brian Wilson’s arrangement is a masterclass in controlled exuberance — the opening guitar lick nods cheekily to Chuck Berry, while the vocal stack is pure California sunshine.
It’s also a sly little morality tale: girl borrows car, girl misbehaves, girl loses car. But with harmonies like these, who cares?

CHOIR! CHOIR! CHOIR! – Zombie

The Canadian collective Choir! Choir! Choir! specialise in turning pop songs into communal acts of catharsis. Their take on The Cranberries’ Zombie is especially powerful — a massed choir reclaiming Dolores O’Riordan’s protest song about the Troubles and the human cost of political violence.
What was once a howl of grief becomes, in their hands, a shared lament and a reminder of how music can bind people together in the face of tragedy.

ELTON JOHN & DUA LIPA – Cold Heart

A clever, shimmering hybrid: Pnau splice together fragments of Elton’s back catalogue (Rocket Man, Sacrifice, Kiss the Bride) and build a sleek, modern disco track around them. Dua Lipa’s cool, crystalline vocal contrasts beautifully with Elton’s warmth.
It’s a reminder that pop history isn’t a museum — it’s a living archive, constantly being reinterpreted and re‑energised.

GARY NUMAN – My Name is Ruin / Are Friends Electric?

Numan’s 2018 Old Grey Whistle Test performance is a fascinating bridge between eras. Are Friends Electric? (1979) was one of the first major UK hits built almost entirely on synthesizers — a stark, dystopian track that helped define early New Wave and electronic pop. Tubeway Army may have dissolved, but Numan’s influence only grew.
My Name is Ruin shows the evolution: darker, heavier, industrial‑tinged — and featuring his daughter Persia, whose ethereal high notes add an eerie, almost ritualistic quality. A family affair in the best possible way.

LYNYRD SKYNYRD – Sweet Home Alabama

A cornerstone of Southern rock, released in 1974 as a response to Neil Young’s critiques of the American South. The track’s breezy feel — those instantly recognisable opening chords — belies the cultural debate it sparked.
Musically, it’s irresistible: triple‑guitar attack, swaggering rhythm section, and Ronnie Van Zant’s laid‑back vocal. Whatever your view on the politics, it remains one of rock’s most enduring anthems.

MAGAZINE – Shot By Both Sides

Howard Devoto left the Buzzcocks because he wanted to explore something more angular, more cerebral — and Magazine was the result. Shot By Both Sides (1978) is a post‑punk landmark: jagged guitars, paranoid lyrics, and a sense of intellectual unease that set the template for countless bands to come.
It’s punk with a library card — and all the better for it.

MORRISSEY – The Monsters of Pig Alley

A later‑period Morrissey track that leans into noirish atmosphere and cinematic tension. The title references the 1912 D.W. Griffith film, one of the earliest gangster movies. Musically, it’s brooding and muscular, with Morrissey’s vocal weaving between menace and melancholy.
Whatever one thinks of the man, his ability to conjure mood remains intact.

ELVIS PRESLEY – Girl of My Best Friend

Recorded in 1960, this is Elvis in his early post‑Army period — smoother, more mature, and leaning into the pop‑ballad tradition. The song itself dates back to the late ’50s and has been covered many times, but Elvis gives it a tender, almost conversational quality.
It’s a snapshot of a transitional moment: the raw rock ’n’ roll rebel evolving into a polished mainstream star.

SEX PISTOLS – Pretty Vacant

If punk had a mission statement, this might be it. Released in 1977, Pretty Vacant is less overtly confrontational than God Save the Queen, but its sneer is just as potent. Steve Jones’ guitar is a wall of sound, Paul Cook’s drumming is tight and propulsive, and John Lydon’s vocal — especially the infamous pronunciation of “va‑CUNT” — is pure provocation.
It’s not just a song; it’s a cultural rupture. A reminder that punk wasn’t merely a genre — it was a demolition job on the complacency of the era.

THE STONE ROSES – I Am the Resurrection

The closing track of their 1989 debut album, and one of the great codas in British rock. The first half is a swaggering kiss‑off; the second half dissolves into a euphoric, extended instrumental jam that feels like a premonition of the Madchester rave‑rock fusion to come.
It’s the Roses at their most transcendent — a band briefly touching the divine.

SWEET – Blockbuster (Uncensored Version)

Ah, Steve Priest. Glam rock’s resident agent provocateur. His Top of the Pops appearance — Prussian helmet, swastika armband, silver platform boots, fake toothbrush moustache — was designed to wind up the BBC establishment, and it succeeded magnificently.
Today, in our era of humour‑averse pearl‑clutching, the clip is labelled “Uncensored Version,” which tells you everything about the cultural shift.
It raises a serious question: should artistic expression be constrained because someone, somewhere, might take offence?
Counter Culture’s answer is simple: art must be free to provoke, unsettle, and challenge — otherwise it’s not art.

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California Sun – Morrissey

June 5, 2019 at 5:58 am · Filed under Culture Vulture, Music, Uncategorized ·Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

CALIFORNIA SON, Morrissey’s twelfth studio album, is a collection of covers including a few familiar old classics and some maybe lesser known American protest and social

morrissey-california-son

justice songs from the 60s and 70s.  Morrissey and his band never shy away from imaginative musical arrangements, often seeking out unusual instruments, and there are influences here from New Orleans, the old time crooners and a touch of Broadway.  No doubt this is a nod 

 

to his recent sell out residency at the Lunt-Fontanne Theatre in New York City (NYC).  

The album opens with Morning Starship, the 1973 song by Jobriath.  Morrissey has talked about covering this song for many years, and his version does not disappoint.  He strips back the glam rock just enough to emphasise his wide range of vocals.  It is an uplifting track and was well received when he sang it live on Broadway.

Next up is his version of Joni Mitchell’s Don’t interrupt the Sorrow, a song about Women standing up to male dominance from her 1975 The Hissing of Summer Lawns album.  Originally a folky song with lots of hand drums it is given the full Morrissey crooner treatment. Now in his 60th yeapeats on several tracks throughout this album, not least on the very good Wedding Bell Blues on which Green Day’s Billy Joe Armstrong adds backing vocals.

Morrissey is never one to shy away from a song with a powerful message, and chose to include the 1964 Bob Dylan song Only A Pawn in their Game, written following the assassination of civil rights activist Medgar Evers.  The message in this song is that the killer was as much a victim or “pawn” of the elites in power as was his victim.  The song was sung at the rally where Martin Luther King gave his“I have a dream” speech.  It’s an interesting choice, as is his excellent cover of Days of Decision.  This is taken from the 1965 Phil Ochs album Ain’t Marching Anymore, with its lyrics: “you can do what’s right or you can do what you are told.”  Maybe in these choices Morrissey is encouraging the listener to look at the lessons of history and to question things a little more?

Buffy Sainte Marie’s Suffer the Little Children is given the full Broadway treatment with big instrumentals and hand clapping.  Buffy, in an interview, said she loved it.

There are very good versions of Carly Simon’s When you close your eyes and Dione Warwick’s Loneliness Remembers what Happiness Forgets.  Gary Puckett’s Lady Willpower is also very well done.  Tim Hardin’s eulogy to his friend Lenny Bruce, Lenny’sTune is perfect for the melancholic signature sound of Morrissey, and whilst this version is not as haunting as the Nico cover it does justice to the original.

Roy Orbison’s It’s Over stays true to the original and is one of the best tracks on the album.  He closes with Melanie Safka’s 1971 Some Say (I got Devil).  The vocals here are excellent and the addition of instrumentals on what was originally an acoustic guitar ballad gives the song new depth.

There really is not a bad track here but the real gift of this album is that it brings to a new generation a selection of protest songs about freedom, social justice and liberty that have a message relevant to today.  It encourages you to seek out the original recordings and the stories behind them.  Morrissey is not afraid to try new genres, or of working with material that others might now find too controversial.  It is why his music endures despite the controversy, the bad press, the lack of radio coverage and the constant personal attacks.  He has already recorded an album of new material for release later in the year.  Retirement does not appear to be on the horizon just yet.

Reviewed by Jacqui Cosgree

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