* The Shed’s eye was caught by a report in Gdn 27.3.15, by Luke Bainbridge, which included the claim: “Frankie Knuckles is to house music what Chuck Berry is to rock’n’roll.”
Knuckles was a Chicago musician, DJ and record producer, who started a genre that became known as warehouse music, later shortened. He died March 2014.
His first big hit was Baby Wants To Ride, made with Underworld.
Baby Wants to Ride by Underworld, Heller & Farley and the Misterons is available from babywantstoride.com as a limited vinyl 12ins or a digital bundle. All proceeds go to the Frankie Kunckles Fund.
See also five top Knuckles tracks via Guardian website at
* The Shed likes Kitty, Daisy & Lewis and was interested recently to rediscover Maddy Costa in Gdn of 21.12.07, recommending a compilation of their favourites, The Roots of Rock & Roll, which they put together before releasing their own first album.
This compilation gleefully rummages through the 1940s and 50s with such joy that both aficionados and those who wouldn’t know boogie-woogie from rockabilly should be equally entertained. The high number of novelties – notably Louis Jordan’s School Days and the Western Melody Makers’ Who Put the Turtle in Myrtle’s Girdle – heightens the impression that the trio were rocking to this stuff in the cot. But that innocence is balanced by rude sauce and sass: Rufus Thomas’s Bear Cat, a hiss-spit riposte to Hound Dog, or the Swallows’ It Ain’t the Meat, a glorious celebration of the female body, whatever its shape. The siblings’ own cover of a 1940s song, called Ooo Wee, is so authentic that only the demotic London accent gives its modernity away.
* The Shed caught a 1980 Top Of The Pops in which the Number One was Together We Are Beautiful, by Fern Kinney. She sang it great and she looked gorgeous. Picture goes here …
Although generally summed up as a one-hit wonder, Fern Kinney did make an impact on the disco scene in 1979 with Groove Me, which is worth a listen at
Before that, she was part of The Poppies, who were known on the Northern Soul scene for There’s A Pain In My Heart.
In 1994, Music Club released an album (MCCD 167) of Kinney’s records called Chemistry: The Best Of.
* In Leaving Las Vegas, Nicholas Cage drank himself to death rather than take up an offer from Elisabeth Shue, tart with heart of gold, and an interesting soundtrack featured a rocker called Won’t Be Going South For A While by The Palladinos. The Shed looked them up but has lost most of the details. We think they were Welsh. Anyway, they made an album called Blood, Blues & Bad Dreams, which we have been meaning to check out.
* In the Guardian of 23.11.14, Kitty Empire’s album of the week was Native North America Volume 1: Aboriginal Folk, Rock & Country 1966-1985.
She wrote …
Nearly every bit of marginalia with cultural worth has been compiled into a box set, it seems. Every so often, though, a compilation comes along that unearths a goldmine and upends your preconceptions. Rattling garage rock, played by an Inuit band from northernmost Quebec? That’s Sugluk, authors of three tracks on this two-CD compilation.
Aggressively marketed as “Canada’s All-Indian Band” by their original manager, the Chieftones are represented here by I Shouldn’t Have Did What I Done, is a tune that beginning with a kitsch “Indian” intro, before unfurling into rueful 60s loveliness. Not every song here packs that level of gooseflesh, but virtually all of these 34 tracks have musical merit beyond the merely archival. So many of these are just good songs, full stop.
* In Independent 8.1.08, Miles Kington wrote:
“John Etheridge is a wonderful guitarist who has made his name in rock, with Soft Machine, and folk and jazz (playing for years with Stephane Grappelli), and if you ever come across a duo record he made with violinist Chris Garrick, please buy a copy (At The Dimming Of The Day, it’s called.”
* The Shed keeps finding itself checking an interesting tune and finding it is by Greg Brown. Latest example is Wild Like A Sonny Boy.
Hear it at:
* The Shed has recently added Ballad Of Lucy Jordan, by Dr Hook, to its list of great uncool country songs.
You must hear the Dr Hook version but another good one is by Lucinda Williams, at
* Not long ago, Guardian tv writer Sam Wollaston enjoyed a BBC4 Friday-nighter in which Paul Morley argued that Kraftwerk were more influential than the Beatles.
Wollaston wrote: “He is right. There is no-one so influential, inspiring, important or – oddly – funky. Ahead of their time, too. Can Trans Europe Express really have come out in 1977.”
Trans Europe Express: