I'm beginning to think this was a mistake calling this track of the week....

Jam and Spoon were a influential German electronic act. They were Rolf Ellmer and Markus Löffel who was otherwise known as Mark Spoon. Spoon was also a DJ. They had a certain amount of mainstream success in the mid nineties with primarily their Album Tripomatic Fairytailes and the Singles Stella and Right in the Night.

The track Follow Me was a B-Side to "Right in the Night". For me, "Right in the Night" summed up a lot of what was bad about Euro dance/techno/whatever. But it did pretty well, despite its cheesiness.

Thankfully, Follow Me was something else. It's a track that sometimes doesn't know what it is. It starts with a fairly bit of generic sounding bit of Euro dance with the slighly annoying lyric being repeated, but once it gets going it settles down into a fairly stripped down techno track losing the chart friendly melody that could well have ruined it. At this point, it's more Detroit than Berlin, running at about 140bpm. About half way through, the techno sound dies to be replaced by some fairly expansive and lush chords as the sound turns a bit more ravey.

And then all hell breaks loose as the track then erupts in to (what for me at the time, I think 1994) the mother of all breakdowns. The tempo rises to about 180, and the sound once more descends into something else, a little more acidy (at this point I really should mention I really am hopeless at describing dance music genres), before dying away into the chords we heard first in the middle of the track.

When I hear this track it always takes me back to one night, myself and Rob ventured to the legendary Orbit @ The After Dark club in Morley near Leeds in probably about 1993. Mark Spoon was DJing that night. And the place absolutely rocked. We didn't have a car, so it was a bit of a mission getting there, so it was a bit of a one off, but made all the more memorable as it was at the time one of the best Techno venues in the world.

Tragically, Spoon died in 2006 of a heart attack aged 39. He's fondly remembered by a large number of people around the world, so for that one night in Morley and a lifetime of enjoying your music Mark, I thank you.

I've never seen the Pixies play live. Much to my regret I didn't get around to seeing them when they reformed the last time, especially when I hear how good they were. I think at the time I was being sniffy about not seeing bands that had reformed after splitting up. But if I didn't see them the first time around that hardly makes sense does it? Ho hum.

Anyway - on to the track in question. It's the last song from the second album Doolittle. It's a superb album and there really isn't a bad song on it. For a lot of people, the stand out song on the album has to be "Debaser" which is truly a fantastic song, but for me the highlight has to be "Gouge Away". This song always sets the hairs on the back of my neck on end when ever I hear it. It's the most distilled, stripped down piece of rock I have ever heard. For me, what makes it stand alone is the bass and the drums, played so well by Kim Deal and David Lovering. The sound is taut and on edge. When you add the discordant guitars and singing of Frank Black, the song truly becomes a unique sounding piece of music.

But the most interesting thing about it is that because the production of it is so special, it simply gets better and better the louder you listen to it. You really begin to feel the excitement and dynamism of the band. Power and control. It's because of this I auditioned my hifi on it last time I went shopping. I remember the poor assistant's pained expression as I put it up louder and louder. It's not that he didn't understand, I just don't think he liked the music. It takes some seriously good equipment to bring this song out perfectly. I once played this on my flat mates set up. He had the biggest bass bin imaginable. But it wasn't hifi (the bloke in the shop told him that at the time as I recall). When turned up to "11", it really really lost the plot. It was loud, but the whole emotion of the song was lost.

I'll audition hifi with it again. And then one day, I'll be able to live in a house where I can play this as loud as it's meant to be played.

I've been thinking about doing a little thing once a week on a single track that I've been listening to during the previous week, why I like it and what (if anything) it means to me. It seems appropriate therefore to kick off with this one.

You may have heard about this one. Malcolm Middleton is one half of the much missed Arab Strap. His solo career is one that I have followed, and in many ways has overtaken my love of Arab Strap's Material. Anyway - he's decided to see if he can get the Christmas Number one to try and take back the slot for real music.

Taken from his last album, Malcolm says its actually a cheerful song (and for him I suppose it is). It's about, er, well in Malcolm's own words:

"I wrote ‘We’re All Going to Die’ to comfort someone, but I kind of failed. It is saying we’re all in the same boat. It’s going to happen to all of us, so we have to make sure that we do the best we can in our life, so that when we die that we can handle it."

Anyway - it's a splendid idea. Buy the single. Take back the charts.

http://www.wereallgoingtodie.co.uk/