Welcome to Issue 150 of the Midweek Song List — a small landmark, and a reminder of how broad the musical world becomes when you let instinct, memory and cultural history guide the choices. This week’s list ranges from New Wave to Bluegrass, from Glam’s theatrical swagger to Punk’s stripped‑back honesty. Blondie, Modern Lovers, Social Distortion and The Who all make an appearance, alongside a few surprises.
As regular readers know, we’ve been marking the centenary of the 1926 UK General Strike, highlighting original and cover versions of pro‑union songs. Today’s choice is a strong one: a modern cover of Worker’s Song, first recorded by the Dropkick Murphys on their 2003 album Blackout. It remains one of the most direct, plain‑spoken working‑class anthems of the last generation.
Our recent forays into Glam Rock have sparked interest, so this week we revisit the genre with Wizzard’s Ball Park Incident. Roy Wood — already a veteran from The Move and co‑founder of ELO — embraced Glam with absolute commitment. The hair, the makeup, the theatricality: it’s all there. Ball Park Incident captures the sheer exuberance of the movement.
The “blast from the past” slot goes to Sad Café’s Everyday Hurts (1979), a track that manages to be both laid‑back and emotionally piercing. It’s one of those songs that lingers long after it ends. And yes — we were genuinely surprised to discover the band is still active. Their website is worth a look: https://www.sadcafe.co.uk
As this is our 150th issue, we’re allowing ourselves a brief pause. If all goes to plan, the Midweek Song List will return on Wednesday 6th June.
We’ll end with a question. The artist known as Anonymous Ulster is steadily building a reputation for thoughtful, positive portrayals of his nation and its people. Are there others — based in the British Isles — who you feel are doing similar cultural work?
This Week’s Tracks — with brief notes
Anonymous Ulster – Rednecks And Hillbillys
A sharp, good‑humoured portrait of rural identity, delivered with the clarity and confidence that has become Anonymous Ulster’s signature.
PP Arnold – The First Cut Is The Deepest
Originally written by Cat Stevens, PP Arnold’s 1967 version is arguably the definitive one — a soul‑infused reading that helped cement her status as one of the great voices of the era.
Blondie – Maria
Released in 1999, Maria marked Blondie’s triumphant comeback after a 17‑year gap. A perfect slice of late‑90s power‑pop with Debbie Harry in commanding form.
Emmylou Harris – Bad Moon Rising
A beautifully restrained cover of the Creedence Clearwater Revival classic. Harris brings a country‑folk stillness to a song usually driven by urgency.
Modern Lovers – Roadrunner
Jonathan Richman’s proto‑punk hymn to driving, youth and the American night. Recorded in the early 70s, it became a foundational influence on Punk and Indie alike.
Oak Hill Road – Worker’s Song
A contemporary, roots‑inflected take on the Dropkick Murphys’ modern labour anthem — a reminder that class struggle remains a living, breathing subject.
Sad Café – Everyday Hurts
A 1979 soft‑rock classic that blends smooth production with genuine emotional weight. One of the band’s biggest hits and still quietly devastating.
Social Distortion – Born To Kill
From their 1992 album Somewhere Between Heaven and Hell, this track captures Social Distortion’s trademark blend of punk grit and rockabilly swagger.
The Tennessee Bluegrass Band – Tall Weeds and Rust
A modern Bluegrass outfit with deep respect for tradition. This track showcases tight harmonies, crisp instrumentation and a sense of place that feels lived‑in.
The Who – I Can’t Explain
The Who’s 1965 debut single — a sharp, nervy burst of Mod‑era energy that hinted at the explosive creativity to come.
Lainey Wilson – Can’t Sit Still
A contemporary country track with Wilson’s trademark blend of swagger, groove and Southern storytelling.
Wizzard – Ball Park Incident
A 1972 Glam Rock gem. Roy Wood’s eccentric brilliance is on full display — big hooks, big harmonies, big attitude.
