Oasis - 'Definitely Maybe'

It's odd, but sometimes music can evoke the strangest memories.

Everything that this record brings back has nothing to do with Oasis, and everything to do with me. Being a student, living in a shared house in Leeds, playing this record after excitedly buying it, and wondering if it was just me, or whether it really did sound like Status Quo with a bit more attitude. Would it be the second record I'd taken back on the basis of simply not being good enough (the first one was the debut Lionrock album, which I took back and theatrically demanded a refund for 'for just being shit').

I remember playing the whole album through, and then going back and trying to find the good bits, desperately dropping the needle on the record increasingly randomly, then just giving up.

Oasis have written some great songs, but have also released some crappy albums.

Collapsed Lung - 'DIS MX'

After the warm reception my previous post received (mostly, it has to be said, from former members of the band), I was a little worried about how this would sound. And it's perfectly of it's period, in that the opening track is that elusive beast, the extended dance remix.

After a couple of minutes of looping drumbeats that pay more than a passing nod to the works of Depth Charge, the funky trumpets start up, and I swear you can hear the actual fertilisation of the egg that went on to gestate and become Collapsed Lung's world conquering anthemn 'Eat My Goal'.

Overall, it's a pretty standard romp, with some nice lyrical action, and fairly dirty production. The standout bit for me is the couplet 'Liberate the decks, liberate the decks, give 'em to the people who would least expect access'. Wise words indeed.

What does it remind me of? Oddly, nothing much. I remember playing this quite a bit, but it doesn't have that flashbulb eidetic moment for me.

Collapsed Lung - 'Down With The Plaid Fad'

It's funny that this should turn up on the weekend when Channel 4 is showing it's 'How Hip Hop Changed the World' weekend, because this is a particular slice of British hip hop that is very dear to me.

One of the central tenets of hip hop culture is 'keeping it real'. Exactly what that means is open to debate. KRS-1 would have you believe that REAL is an acronym for 'Rhymes Equals Actual Life'. Modern commentators seem to agree that hip hop hasn't been in a good place for some time now. You don't have to wait very long on Kanye & Jay-z's new album to hear Kanye brag about how has two big-faced Rolexes. Nice one Kanye - I'll loot Argos and steal an armful of Swatches in ironic homage. As Dan Le Sac and Scroobius Pip point out, 'guns, bitches and bling have never been part of the four elements, and never will be'. The four elements of hip hop are breaking, MCing, DJing and grafitti, as any fule kno.

The four elements conspicuously don't include sloppy, culturally accurate grunge-hop, but if you want an an example of a band keeping it REAL, look no further than mid-90s Collapsed Lung. I saw them in Manchester in 1995, and they were hilarious, and in a good way. A bunch of guys, playing tight, funky rocky grooves, two rappers trading rhymes over the top. It was like having the whole of global musical culture condensed into 3 minute snippets, lyrically tight and culturally smart, thrown back in your face with a cocksure swagger that said 'yeah, we know, it's all a bit mad, but you know what - we're kicking ass, and you're loving it'. It's the very antithesis of where hip hop is today, either a global sell-out or a ghettoised artistic statement.

Fresh stoopid rhymes, sloppy loud guitars, distorted vocals, hell yeah, I still love it today like I loved it then.

Earthling - '1st Transmission'

Wow, this is almost Proustian in it's ability to vividly transport me to a particular place and time.

It's a Saturday afternoon in Leeds, 1994, and I'm round at Rob's old house on Brudenell Road. I lived in Manchester at that point, but moved to Leeds a year later. Ali was there too. We'd been record shopping at Jumbo Records, and I'd picked this up.

It's basically 4 mixes of the same song, but the first version is so strong, such a fat, trip-hop, of-the-moment production that it just sucks you in. The rudeboy sound-system swagger contrast with Earthling's naive, almost childish vocals in a way that found totally captivating at the time. So much so that I listened to all of the mixes one after another, much to the obvious annoyance of Rob and Ali. I think I might have been going back to flip the record over and repeat the A side when someone mentioned that, perhaps, that might be enough of that for now. I was a bit bemused by that then, as I am now.

This track combined everything that I loved about music and lyrics - fat production, someone with their own flow, lyrics that sort of told a story and sort of hinted at someone immersed in their own world. It totally inspired me to start writing lyrics and rapping, and I remember one night waking up and having to find a pad and a Bic biro, the rhymes tumbling out in an unstoppable torrent. Well, maybe not an unstoppable torrent, but a couple of sides of A4 written down as fast as I could manage.

Damn, I'm really happy to hear this again! To me, it's the sound of possibility, of performance without fear of pretension, of music production marrying with an emotion behind a set of lyrics, or vice versa. Happy days.

Gravediggaz - 'Nowhere to Run, Nowhere to Hide'

Contrary to the previous record, this has a wonderfully epic swagger to it. It's the sound of a hip hop supergroup trading rhymes, smashing it and generally having a great time.

What really surprises me is how little connection I have to this. I remember it coming out, and being really excited about it, but I just doesn't stir anything in me. It's a good hip hop track, but it doesn't transport me to a time or a place. Maybe I made the mistake of believing the hype, or maybe music doesn't need to be an eternal. I guess pop music can be both great and disposable at the same time - why not hip hop?

Gravediggaz - 'Diary of a Madman'

I played this ten days ago, and it reminded me of using a sampler. How crap is that for a memory? I played it a few more times, and still nothing.

Boooring. It's not a bad record, but it means zip to me. And I spent 10 days thinking about it. NEXT!

M-Beat featuring General Levy - 'Incredible'

If I told you that this record's USP was General Levy's ability to emit high-pitched sonar-like hiccups while delivering a high-paced ragga chat, you'd do well to be bemused. It's only on the b-side, with a more underground mix, that this kicks into gear more effectively, with cartoony stretched vocals and epileptic drums.

This reminds me of clubbing in Leeds, at Think Tank, late 90s. Hot, trebly, drunk on Red Stripe. The music really sounded like the future - broken, twisted, like the machines had actually taken control. My inability to take it seriously. The hilarity of time-stretched and speed-up vocals - I never understood that bit.

This is a mad record - if you focus on any one element it sounds absurd, but as a whole, it perfectly captures that mid-90s jungle scene. And it's also a right laugh to try and impersonate the General. Altogther now: 'I am de in-cred-HIC in-cred-HIC incredible general BOOYAKA! Selec-selec say HIC HIC HIC say sensaaayshonaaal!'

Killdozer - 'Uncompromising War On Art Under A Proletarian Dictatorship'

What a great title. What a great cover. Surely it can only go downhill from here?

Well, yes and no. Musically, this is now a pretty unappealing record, sounding a bit like Tom Waits fronting a shoegaze Cardiacs - cement-mixer vocals over wall of guitar noise, tempo shifts and angular guitar lines aplenty. And if you don't get the joke (such as it is, that the band are a group of disaffected communists seeking to overthrow the system via sludge-rock), then this isn't a very good album. Actually, I get the joke, and I still don't think it's a very good album.

But the thing that totally redeems them for me is when they played at Salisbury Arts Centre, mid-90s. They came bounding on stage and launched into a note perfect interpretation of 'Unbelievable' by EMF. The place went mental, and in terms of an unexpected icebreaker cover to start a gig with, it was inspired, the lollopping bassline with the gravelly vocals over the top. And Then they launched into one of the tracks from this album, and it all went a bit less mental.

Good concept, average execution.

Cat No: TG82A

Tracks: Final Market. Knuckles The Dog (Who Helps People). Turkey Shoot. Grandma Smith Said A Curious Thing. Hot 'N' Nasty. Enemy Of The People. Earl Scheib. Das Kapital. The Pig Was Cool. Working Hard, or Hardly Working?