I stumbled on this single in 2013 and couldn’t stop listening to it. The lyrics are playful, the harmonies crisp and it took me back to some of my favorite 90’s British indie pop. It was a breath of fresh air among much of what is pushed these days.

Wolf Alice would eventually re-record it for a larger label and release a video in response to a sea of fan made videos which capture friendship. Three years later they would be nominated for a Grammy. 
​
I love this version of the song and the innocence it captures, and I wish the music industry could stop exploiting the creative process and walk away from the painting before ruining it with more brush strokes.

In 1989 Earache Records released Gridecrusher, a compilation of Thrash, Death, and Experimental metal, hardcore punk, and Grindcore. It was a cutting edge compilation of extreme music, and the first time I ever heard the band Terrorizer.

As a fan of hardcore punk, Grindcore was the next phase of adrenaline laced music for me, and although there was a plethora of talented artists found on that compilation, Terrorizer was my favorite and I quickly grabbed their debut album World Downfall. The band actually broke up by the time World Downfall was released, with the chief players joining other influential extreme metal bands (Morbid Angel and Napalm Death).

If there was a single to be had from an album like World Downfall, “Corporation Pull In” would be it. It’s tight, fast, and a perfect exploration into the extremes of music. It also came with a lyrical hook, albeit smothered underneath Oscar Garcia’s Growl.  If you take the time to read the lyrics, they are quite socially conscious and ring truer than ever.
​
This kind of music does not appeal to everyone, but if you ever picked up an instrument you should at least be able to appreciate the hard work and integrity within, and over twenty years later I am still impressed by the drummer Pete Sandoval’s playing.

From 9am to 5pm, five days a week, Sound Dimension created some of the finest blue beat, rocksteady and early reggae music found in Jamaica. Formed from the remnants of the legendary band The Skatalites and record producer Clement “Coxsone” Dodd, Sound Dimension (aka Soul Vendors or Soul Brothers) were Studio One’s house band from 1965 to 1968. It featured some of the finest players on the island and this song is just the tip of a very large iceberg of talent.

This is one of my all-time favorite pieces of music. I love its modesty, laid back funky rounded edges, and deliciously delayed guitars. It’s the forerunner to “Pass the Kouchie” by the mighty Diamonds, U Brown’s "Gimme the Music," and the more popular “Pass the Dutchie” by Musical Youth. The CN 3257B single version of this track is also pretty amazing with some nice saxophone soloing dripped over the top of Jackie Mittoo’s organ. 

​I hope you all enjoy and make sure to check out some of Sound Dimension’s other fine work like “Real Rock” and the instrumental version of the Impressions' “Ten to One”.

The Keystone Angels were early touring mates of AC/DC, and at one point backed Chuck Berry’s 1975 tour of Australia. That same year, with the help of Bon Scott and Malcom Young, "The Angels" as they were now known (not to be confused with the American girl group) were offered a recording contract and soon released “Am I Ever Gonna See Your Face Again”.
​
Originally recorded as a ballad, then rearranged and released in 1976 as an up-tempo single, this song has been looked down upon for its substantial likeness to Status Quo’s “Lonely Night.”  Then again, with some added lyrical audience participation “Am I Ever Gonna See Your Face Again” is seen as a national treasure for Australians. Regardless of its subliminal thievery, this song captures our universal longing for lost loved ones.