Undertones (the) - Listening In Radio Sessions 1978-1982

Name: The Undertones
Album: Listening In Radio Sessions 1978-1982
Year: 2004
Style: Punk
Similar Bands: Clash, The Jam, Buzzcocks, The Adverts, Monkees
"One-Word" Review: Standard Punks Who Became Musicians

Based Out Of: Derry, Northern Ireland
Label: Sanctuary Records Group, BBC Music, BMG 

Cover, Sleeve Back

Liner Notes, CD Back

Liner Photo, CD, CD Tray

Liner Notes

Liner Notes

Liner Notes, Song Details

Listening In Radio Sessions 1978-1982 (2004)

1. Get Over You 2:54
2. Top 20 1:59
3. She Can Only Say No 0:36
4. Male Model 1:52
5. Listening In 2:15
6. Family Entertainment 2:35
7. Billy's Third 1:51
8. Here Comes The Summer 2:01
9. Nine Times Out of Ten 2:34
10. The Way Girls Talk 2:42
11. Whiz Kids 2:38
12. Top 20 2:02
13. Girls That Don't Talk 2:22
14. Tear Proof 2:17
15. What's With Terry 3:17
16. Rock n Roll 3:07
17. The Positive Touch 1:55
18. You're Welcome 2:11
19. When Saturday Comes 2:47
20. Like That 2:57
21. Bye Bye Baby Blue 3:23
22. Beautiful Friend 3:05
23. (Just Like) Romeo and Juliet 2:03
24. Untouchable 3:16
25. The Love Parade 4:11
26. Luxury 2:35
27. The Sin of Pride 3:45

Album Rating (1-10): 9.0

Members & Other Bands:

• Michael Bradley - Bass, Vox (The Wesleys, Bernard Lenoir, Ash)
• Damian O'Neill - Guitar, Vox (The Wesleys, That Petrol Emotion, The Monotones, Everlasting Yeahm Wavewalkers, A Quiet Revolution, Tommy Tate & the Torpedoes, X-Valdez, Bernard Leonoir, Qu4tre, Ash, Rare, Mimi, Aujord'hui Madame, Die Toten Hosen, 5 Billion in Diamonds, Eileen Gogan & the Instructions, Baby Shakes)
• John O'Neill - Guitar, Vox (That Petrol Emotion, Rare, Bernard Lenoir, Wasp Factory, Blink)
• Feargal Sharkey - Vox (The Assembly, Peace Together, Kiki Dee, Bernard Lenoir)
• Bill Doherty - Drums (Bernard Lenoir, Baby Shakes)
• Vincent O'Neill  -Backing Vox
• Steve Hammonds - Release Coordination
• Joe Smith - Release Coordination
• Hugh Gilmour - Artwork & Design
• Larry Doherty - Photos
• LFI - Photos
• Jill Furmanovsky - Photos
• Andy Ferguson - Mgmt (Cracks 90 Ltd.)
• Dave Richings - Recording
• Mick Houghton - Liner Notes
• Bob Sargeant - Producer, Engineer
• Dale Griffin - Producer, Engineer
• Dave Dade - Producer, Engineer
• Mike Engles - Producer, Engineer
• Stephen Nelson - Producer, Engineer

Unknown-ness: This album is one of the more recognizable bands i'm "reviewing"...i probably could take it off the list, but i did not know who they were when i bought this album used back in the mid 00s, a couple years before I started this blog. Figured they were a Clash/Jam style band from the clothes and years this compilation represented. And yeah, spot on.

Album Review: This is a nice compilation that travels the evolution of the Undertones, one of the biggest bands from Northern Ireland's, sound. Starting with their first John Peel session in 1978, where Peel had to foot the 70 pound studio bill for the broke band, through to their final (7th) session in 1982, which apparently the band barely remembers doing. It shows the band's growth from a three chord angsty punk band, the standard first origins step for any punk band. The wavering and harmonized vocals took the Beatles sound, sped it up, and overlaid aggressive guitars over the generally catchy hooks and backing beat. Again, I'm not discovering anything new here, it is a stereotypic start for the genre. Over the sessions, the songs got longer, and more intricate and added in more themes of 60's Psychedelia, Motown and Gary Glitter.

Although this is an Undertones compilation, it lacks their most popular track, Teenage Kicks, missing because, as the band states, they recorded it as well as they could have hoped, and felt no need to replicate it (even if Top 20 is on here twice). They broke up after their fourth album in 1983, but reunited in 1999 for Derry reunion gigs, minus Sharkey, who decided against rejoining. They are still an active band (as of 2021) and i would have seen them last year for the first time, it it weren't for that meddling covid.

Stand Out Track: 78 Peel Session (Get Over You / Top 20 / She Can Only Say No / Male Model)

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Microdisney - Crooked Mile

Name: Microdisney
Album: Crooked Mile
Year: 1987
Style: Jangle Pop, Light Rock
Similar Bands: XTC, ABC, Loud Family, Aztec Camera
"One-Word" Review: Melodic Overproduced Hookey Pop
Based Out Of: Cork, Ireland
Label: Virgin, Atlantic

Cover, Record

Record, Back

Crooked Mile (1987)

1. Town to Town 3:19 (single)
2. Angels 3:41
3. Our Children 4:33
4. Mrs. Simpson 3:54
5. Hey Hey Sam 4:19
6. Give Me All Your Clothes 4:02 /
7. Armadillo man 3:04
8. Bullwhip Road 3:37
9. And He Descended Into Hell 3:46
10. Rack 4:29
11. Big Sleeping House 3:03
12. People Just Want to Dream 5:17

Album Rating (1-10): 7.0

Members & Other Bands:

• Cathal Coughland - Writer, Lead Vox, Grapefruit Segment Keyboard, Flexatone (Fatima Mansions, Bubonique, North Sea Scrolls, Martin Stephenson, Dave Couse, Francois Ribac, Eva Schwabe, Ruefrex, Christopher Young, Avalanche, Luke Haines, Eileen Gogan & the Instructions)
• Sean O'Hagan - Writer, Guitar, Harmonica, Backing Vox (High Llamas, Stereolab, Damian O'Neill & the Monotones, Turn On, Palace Songs, Laila Amezian, Cornelius, Kev Hopper, Young Fresh Fellows, Minus 5, Bonnie Pink, Heavy Blinkers, Alexander Von Mehren, House of Hiss, Jean-Emmanuel Delux & Friends, House of Love, Edith Frost, Laila Amezian, Piero Umiliani, Schneider TM, Saint Etienne, Aluminum Group, Dondre lerche, Kahimi Karie, Kev Hopper, Pluramon, Oddtoot, Super Furry Animals, the Coral more  )
• Tom Fenner - Drums, Percussion, Backing Vox (High Llamas, Tom Robinson, Fiddlers Dram, Brad is Sex, 
• Steve Pregnant - Bass
• James Compton - Keys, Accordian, Backing Vox (Microgroove, Straight Eight, Railway Children, Marshall & the SHooting Stars, Hank Wangford & Lost Cowboys, Paul Ansell's Number Nine, Imelda may, Shakin' Stevens)
• Lenny Kaye - Producer, Backing Vox (Link Cromwell & the Zoo, Patti Smith Group, Jim Carroll Band, Andy Zwerling, Throwing Muses, Joey Ramone, The Shams, Eugene Chadbourne, more)
• June Miles-Kingston - Harmony Vox (Mo-Dettes, Pride of the Cross, Fun Boy Three, Everything But the Girl, Big Country, Max Eider, Communards, Woodentops, Jimmy Somerville, David Freeman, 
• BJ Cole - Pedal & Lap Steel Guitars (Scott Walker, Marc Bolan, Bjork, Luke Vibert, Cochise, Lushlife, Mike batt, Black Eyed Dogs, Hank Wangford Band, New Hovering Dog More)
• CP Roth - String Arrangement (Blessed Union of Souls, John Giorno Band, Poptarts, Edgar Winter, Rick Derringer, Dead at Birth, Karen Haglof, Regina Richards, Neeva, Nolan Thomas, Suzanne Vega, NKOTB, more)
• Sabah El - Frugalhorns of Allah
• Bill Gill - Engineer, Recording, Virtuoso Tambourine (Railway Children)
• Greg Fulginiti - Mastering
• Mark Boyne - Jam Studios
• Matthew Kay - Representation c/o Farrago MGMT
• Robert Brimson - Sleeve Photos
• Keith Breeden - Sleeve Design

Unknown-ness: I have heard of Microdisney from being a casual fan of the High Llamas & Sean OHagan, but did not know what they sounded like. I only assumed it was similar to the light indie rock with a bit of a grounded, alt-country feel.

Album Review: At first most of the album is sleepy, with smooth & tinny, "fake" mid to late 80's production, and bits of country peppered through out. That is, except for the superior, fun, soulful "Big Sleeping House"; a song i'd love to hear XTC or the Jam cover. But as i listened to it more, the vocals became more enjoyable in a bit of an Andy Partridge way at the same mid-late 80's era. In 2018, after winning the Irish Music Rights Org / NCH Trtailblazing award, they played their self-declared final two shows ever after a 30 year hiatus.

Stand Out Track: Big Sleeping House

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Wormhole - Chopper

Name: Wormhole (The Wormholes as of 1996)

Album: Chopper (10in EP)

Year: 1995

Style: Alternative

Similar Bands: Nirvana, Dinosaur Jr., Track Star, Pixies, Pavement, My Bloody Valentine

One Word Review: Slacker-Drone-Rock

Based Out Of: Ringsend, Dublin

Label: Roadtrip, Roadrunner

 Chopper - Cover & Record

Chopper - Back & Record

Chopper (1995)

1. Leave the Blanket In 3:31
2. 44 Bulldog 3:35
3. Soul Searching in the Library 2:41
4. Little Miss 3:34
5. New 6:48

Album Rating (1-10): 7.5

Members & Other Bands:
Anto Carroll - Bass, Keys (European Sensoria Band, Memory Cells)
Dave Carroll - Drums, Vox (European Sensoria Band, Phil Alvin, Amygdala)
Graham Blackmore - Guitar
Eamonn Crudden - Recording?, Artwork, Photos
Marc Carolan - Production
Edel - Artwork, Photos
Zak -Artwork, Photos

Unknown-ness: I’ve never heard of the band, but just from the band name logo, I imagine this to be some sort of heavy hardcore bridging on metal. It looks dirty and sloppy by design, so I at least imagine some grungy sludge. Also, the label is a division of Roadrunner, and although not all their bands are metal-core bands, they do tend to run in that direction. Either way, this is a short EP, and should not be too much of a challenge to get through.

Album Review: So there was not much on Wormhole, but then I discovered that they changed their name to The Wormholes, and a bit more information opened up. They even got back together last month (DEC 2014) to close down one of their locally historic pubs in Dublin, and they have been an active band since.

“Leave the Blanket In” begins with a rubberband bass riff, and gently fades up with ambient fuzz, only to rock out at about 45 seconds. Sludgy alternative guitars lay the groundwork for a droning, brooding rock song with not so much chord changes, as tonal pitch changes. The whining, crunching guitars note changes sound very minor below all the dense fog.

“44 Bulldog” has a great sounding guitar, like Track Star, with a bit of echo, but sounding metallic and crisp. The chord loop is short and catchy. The vocals drone over the guitar, but are barely intelligible, and are exhausted in their delivery. At the chorus, extra fuzzy guitars add to the density. This is a very good slacker pop song. Toward the end of the song, the lead guitar takes some liberties and flourishes, unwinding a bit, but it does not detract from the song

“Soul Searching in the Library” is a bass driven, instrumental quiet pop song as it begins, with a similar musical setting as XTC’s Battery Brides. Metal screeching guitar is present in the background, and it reminds me of the Pixies as well.
“Little Miss’s” percussive tempo is laid down with a tambourine/cymbal cadence, which abruptly stops to allow for distortion of noise and vocals, like a poorly transmitted hand held radio signal. Then the Pavement like vocals kick in with the chugging rhythm guitar. The distortion revisits for a break and brings  the music to a stop. This precession repeats, and the Pavement-esq

“New” starts out like a band warming up for practice, with some miscellaneous sounds and a very garage band style guitar check, which is the opposite of the band’s recorded style. Then the droning guitars kick in and the pained, slacker vocals set in. The lead guitar hook is quite loud, piercing and walks a fine line of annoying. The song progresses itself into a wall of screeching sound and never comes back to the melody. It wavers in and out of audible tension, and then the rhythm guitar comes back with the melody, a bit of vocal and then it crashes into a huge wall of sound, My Bloody Valentine style. The stumbling, hand dragging melody repeats, like some of the fuzzier, noisier Imperial Teen songs, and then it just decides to end.

Stand Out Track: 44 Bullfrog

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Andy McCarroll & Moral Support - Zionic Bonds

Name: Andy McCarroll & Moral Support
Album: Zionic Bonds
Year: 1981
Style: Christian/Religious, New Wave, Power Pop
Similar Bands: Clash, Buzzcocks, Elvis Costello, Alarm, Police, 80's sitcom theme, slow English Beat, and a little Bowie
"One Word" Review: New-Christ-Wave
Based Out Of: North Ireland
Label: Pilgrim American Records, The Benson Company

 Zionic Bonds - Cover, Liner, Record

Zionic Bonds - Back, Liner Notes, Record

Zionic Bonds (1981)

1. Sin 4:10
2. How The Kids Are Feeling 2:39
3. To Know You 2:53
4. Slippin' And Slidin' 3:38
5. I Am Human 3:53 /
6. Cyan City 3:44
7. King Man 2:43
8. Livin' A Lie 3:54
9. In Control 4:56
10. 20th Century 4:41

Album Rating (1-10): 8.0

Members and Other Bands:

Andy McCarroll - Guitar, Vocals, Sleeve Design

Jimmy Davis - Guitars (The Lids)

William Hilary - Keys

Ian Sloan - Drums

Alan Gillespie - Bass

Kyle Leitch - Manager (Rudi)

Dennis McMeekan - Photography

Andy Kidd - Producer

Unknown-ness: I had never heard of this band. I bought this about 10 years ago, right around the time when I first found the A’s records in a 10 cent box. This one was from a Goodwill in my small hometown. I liked the energy, the color, the random look to the cover. The vibe from the cover seemed like it would be a fun, new wave/power pop group that I might enjoy as much as the A’s. Beyond that, 1981 had good potential as well for a fun record.

Album Review: Unbeknownst to me, it turns out that this is a Christian rock band from Ireland. I liked it a lot the first few times I listened to it, and admittedly, the affection dropped off when I realized there was a message I was against buried down (or not too far down) in the lyrics. I’m so unfamiliar with religion that I did not even get the album name’s reference. But I thought about it a little more, and grew to re-like the album, despite the message. I mean, it was kind of unfair to disregard the music and catchiness, especially since there are other bands I like whose messages I don’t identify with. Moral Support’s songs were pretty good. Apparently, Andy McCarroll had a few folk albums before this, and is still a songwriter over in Ireland. The band was really just called the Moral Support, but his name was attached for the US release. The songs titles were also “godded” up for the second wave of US releases, and on my copy, the titles on the sleeve are original, but the record label has the exaggerated versions.

“Sin” marches out with a drum beat and Bowie-ish vocals. There is keyboard synth and power pop chords. The bridge between the verse and chorus is the best part of the song. The lyrics of the song talk about hating sin. On the surface, it is just another power-pop arena rocking song, but they lyrics deliver the christian message. The end of the song chants 6-6-6 and hate it in combat repetition.

“How The Kids Are Feeling” has a jittery guitar hook that feels over all washed out, but all the energy of the Buzzcocks and Clash. The verse is spoke-sung in a fast paced action, and the chorus layered behind is a ver catchy peretiton of “this is how they feel.” There is also an echoy whistle that mimics the backing chorus melody, and at times it almost sounds like bird calls. The pace of the song starts and stops, but chugs along under long held synth notes buried in the background. The whole song rocks until they have to go and ruin it bring jesus into it in the last 30 seconds. Still a solid song

“To Know You” is a dark Clash / Elvis Costello alley way song. There is a bit of a reggae construction to the guitar playing and backing bass line.

“Slippin' And Slidin'”has a simplified Graham Parker/Squeeze feel to it, perhaps a bit of the Police in the stripped down reggae mixed with power pop. This track has some bright, jangley rhythm guitars, and watery lead guitar. The vocals in the verse feel like they are just falling out and down the melody as they are only partially sung. And in the last 30 seconds, again, they have to go and bring in the

“I Am Human” starts with echoing drums and a droning, chugging guitar. The vocals are turned up, like a more less mechanical Gary Numan. Synth notes are played that don’t follow the melodic structure, but create an atmospheric feel. The chorus rocks out, repeating the extended, US title “I am special, I am human” The synth keys are combined with the rocking guitar, but the vocals never pick up the energy, they let the music do that. The chorus is changed up eventually to say “WE” rather than “I”, and the lead guitar takes an opportunity to solo. The song falls apart in the end, piece by piece, even lyrically, only repeating special and human, and it ends with the guitar continually chugging away.

“Cyan City” is an instrumental that starts with an echoing, jangley power pop version of a Ramones chord structure. Twinkling and sparkling synth effects are peppered over the top, and the melody takes shape like an 80’s sitcom theme song. A variety of more synth effects take their turn over the music, some buzzingly smooth, and some watery and echoy. The song seems to fade out at the end under the weight of all the synth effects.

“King Man” is a jumpy, jittery, quick chord shifting song with Difford/Tillbrook like harmonies, and Buzzcocks like spoken singing. The electric guitar takes the song in a different direction, toward Prog/Metal. The music all fades out except the twinkling synth. Which seems to wind down in a warbling fashion with a slow fade.

“Livin' a Lie” is a straightforward power pop song, with an up-down chord progression. The vocals are very echoy, reminding me of Flock of Seagulls. As the synth is added in the second verse, the song balances on a fine like that feels like they are entering OMD territory once it hits the chorus. But it is electric guitars that take the song out to the end with a fade.

“In Control” has a slow, relaxed island/reggae English Beat tempo to it. On the record, this song has the word god added to the front of it, as the lyrics are “Do you believe/that god is in control.” About 3:10 the song brings in a political aspect to the song, employing static, and radio/tv transitions that make the listener question whether this god-person is actually in control of the tense world-wide situations with news broadcasts. The band then pushes it’s point to not worry, but their god will take care of things.

“20th Century” ends the album with a ramped up electronic surge at its start. That fades away, and a single chugging guitar plays under the vocals, like a Ted Leo story-song. The tempo changes to side-to-side swaying, slightly Ziggy Stardust style of song, letting the listener know that there’s a god in this 20^th century. The song follows standard form with verse-chorus-verse-chorus and then features an instrumental breakdown with soaring guitars. Just when they could come back to the chorus, the song takes the instrumental route and finishes the song with electric guitars playing the melody.

Stand-Out Track: How The Kids Are Feeling

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Horslips - Belfast Gigs

Name: Horslips
Album: Belfasrt Gigs

Year: 1980

Style: Celtic Rock

Sounds Like: Genesis, Jethro Tull, Yes, AC-DC, ZZ Top, Blasters

One-Word Review: Celtic-Prog-Metal

Based Out Of: Ireland
Label: Mercury

Belfast Gigs - Cover & Record Belfast Gigs - Back & Record

Belfast Gigs (1980)

1. Trouble (With a Capital T) 3:45
2. The Man Who Built America 3:38
3. The Warm Sweet Breath of Love 3:47
4. The Power & the Glory 3:31
5. Blindman 3:11 /
6. Shakin' All Over 5:20
7. King of the Fairies 3:20
8. Guests of the Nation 4:04
9. Dearg Doom 7:16

Album Rating (1-10): 6.5
Members & Other Bands:
Jim Lockhart - Vox, Keys, Flute
Eamon Carr - Drums (Tara Telephone, Zen Alligators, Host)
Charles O'Connor - Vox, Guitar, Violin, Sleeve Design (Host)
Barry Delvin - Vox, Bass
Johnny Fean - Guitar, Vox (Sweet Sweet, Jeremiah Henry, Zen Alligators, Host, Jacobites, The Treat)
Chris Ellis - Artwork
Billy Moore - Artwork
Steve Katz - Producer
Peter Mew - Remastering
Ralph Moss - Engineer
Tim Morris - Tape Operator
Paul Thomas - Tape Operator
Sue Byrne - Photos
Michael Deeny - Management

Unknown-ness: I’ve never heard of them. But being a live album, and proclaiming with a sticker on the front, that it features the song “shakin’ all over,” they must be somewhat popular. But not to me, be it fortunately or unfortunately. I like the blurred artwork and the font on the cover; both give me an impression that it might be a punk-like effort. I also like the energy captured in the shots on the back, which give them a more hard rock and roll vibe.

Album Review: From what I’ve read, I probably should have heard of them. They are said to be a very inspirational and important band in the history of Irish folk/rock. They were very popular in Ireland, where they are from, and are somewhat responsible for the blend of traditional Celtic music and rock, or were one of the first popular bands to do so. This is a live album near the end of their (first) run.

“Trouble (With a Capital T)” introduces us to the band with the crowd in Belfast chanting the band’s name. Cheers as they take the stage are followed by a jammy sound that also lends itself to prog (such is the verse). This song features traditional Irish instrumentation mixed with rock guitars and bass. The vocals are deep and nasally.
“The Man Who Built America” begins with what sounds like an old carousel organ. Then vocals are added and quickly followed with guitars, and this is a straightforward arena rock pop song. It has a Mellencamp feeling of middle-America, but the song is simpler and catchier. The flute is nicely layered right below the verse. It is a tremendously positive song.
“The Warm Sweet Breath of Love” is started with synth prog keys, and it delves into a skip-step pop-rock song. I’m reminded of the Blasters here, but with better vocals. Maybe a little of Wings too.
“The Power & the Glory” progs out with a very wizardry keyboard sound. It also has heavy guitars to balance out the keys. The vocals are light and uninspired, much like southern rock. It is catchy, but it feels like it could fit well on a ZZtop album. Although the fiddle in the instrumental bridge stakes claim to its Irish heritage.
“Blindman” comes in with no break. It is a quiet earthy medieval prog song. It would feel at home in a movie like Excalibur. I don’t know them very well, but I imagine this is a good example of Yes’s sound. The rock value is added as the song progresses, along with a nice new wave organ sound.

“Shakin' All Over” initiates side two with a power rock groove. It is immediately driving and feels bluesy at the same time. Perhaps a heavier J Geils Band. There is a long rocking instrumental, with the electric guitar hammering away as the repetitive groove chugs along. It exits into the chorus nicely, and the song picks up without missing a beat. It ends in a grinding energetic instrumental marathon, and the crowd goes wild.
“King of the Fairies” has is a pounding drum and guitar rhythm at the outset. And it just gets heavier from there with a violin/fiddle then flute added, the band really gives a nice display of blending Celtic and Rock music here. Oh, and its all instrumental.
“Guests of the Nation” has a Who & lighter AC-DC feel to it. It is another simple catchy powerful song. It features a new wave organ, which gives it that feeling of an A’s song. There is a power pop bridge with the chorus sung over it near the end of the song.
“Dearg Doom” starts with traditional flute and drums. Then wah-wah guitars and effects bring the song up to a metal/prog style. It is a long instrumental introduction (3 min), and grows in its impatience with wailing metal guitars and a hurried slightly disco bass/drum beat. There are even elements of psychedelic rock with the keys in the background. This is supposedly their first big single, and they indulge the audience with a long extended jam session version.

Stand Out Track: Guest of the Nation

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