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Skummy

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Skummy last won the day on September 9

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About Skummy

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    Gustave d’Avignon, the bone wrecker
  • Birthday 22/06/1987

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    Jersey, Channel Islands

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  1. Big Black are a real ur-Albini band. There's a fuzzy distortion and rhythm section high in the mix, a driving riff behind just about everything, that you notice in everything Albini produces after that point, so I can see why they made the list. Prince's version of Manic Monday was actually released after his death, they brought out an album of his versions of songs he gave to other artists. It's a fun listen, and obviously a superb pop song. Artists Against Apartheid...yeah. I grew up in a very political household, and while I'm too young to really remember a time when Mandela was
  2. "She Sells Sanctuary" is a song I haven't thought of in years, but was in constant rotation during my teenage goth years. It's brilliant, and one of a select few songs that benefits from the gated reverb drum production of the '80s, rather than feeling horribly dated by it. "Close To Me" is one of my favourite Cure songs. It's a good balance between their pop and their goth sides, and the pop stuff sounded best when it was almost nursery rhyme-like in its simplicity, with an illusion of depth. I love The Fall, but this is definitely from a period where they were turning out a lot o
  3. Hoodoo Gurus! Bloody hell. I can only assume they're on here because they seem duty-bound to include an Australian band every now and then, but I'm glad to see them. A couple of my muso friends count them among their all-time favourites, and they make some lovely tunes, but I'd struggle to justify them making The List. I adore The Pogues, and that's such a good song. The best Pogues stuff has the feel of a song that's so much older than it is; it's sometimes hard to distinguish the traditional folk tunes from MacGowan's own writing, it all just feels of a piece, and utterly timeless. You
  4. I saw Echo and The Bunnymen last year; they were superb, and similar to when I saw The Buzzcocks in terms of just being constantly surprised how many of their songs I knew. Killing Moon was, unsurprisingly, the first song of the encore (they closed on Bring On The Dancing Horses), and started with a blacked out stage and then spotlight on someone playing electric mandolin for that intro - really spine-tingling stuff.
  5. I do feel that this sort of book does tend to give a little favouritism towards songs like "I Love Rock & Roll" that are about rock music, as it's just an easy sell to explain it. That said, it's also by far Jett's most famous song, and I probably only dislike it through overexposure. Things are starting to move out of my '76-'80 goldilocks zone of liking more stuff than I dislike here, getting into some '80s pop and rock that does little for me. Though Madness and Motorhead are both absolutely superb, obviously. Not a fan of Rush, but I do quite like Tom Sawyer, it's one of their less
  6. I have a running joke with a couple of friends of just shouting "....TUSK!" after anything which could be construed as sounding even vaguely like an extended drumbeat. It's a fun song, but not one of my favourites from Fleetwood Mac. And that's kind of the story of this group for me, except maybe the Nick Drake track, which I love. Some decent songs by artists I like, but not my favourites from any of them. A strange choice for Sparks - "Number One Song In Heaven" was a bigger hit, and a better track, that would have been a better fit here, or "When Do I Get To Sing My Way" much later down
  7. What's interesting with a lot of the recent list is that we're seeing real move forwards in "post-punk"; Public Image Ltd pulling from Lydon's own musical tastes (Krautrock, Beefheart etc.) far more than the usual punk stuff, The Clash really moving away from the two minute three chord stuff and incorporating other elements, The Only Ones bringing a real pop sensibility to the table, Magazine being far more sonically interesting than The Buzzcocks were, and so on, to the point that something like "Alternative Ulster" already starts to feel a bit old hat for "just" being a straightforward punk
  8. Ever Fallen In Love is one of the greatest pop songs ever written, I adore it. I think it was Mark Radcliffe who described it as "like Buddy Holly wrote a song to pogo to". I saw the Buzzcocks live in around 2008 or 2009, thinking I only knew one or two of their songs, and I just knew (and loved) practically everything they played. Wonderful band. I expect we'll see stuff from Pete Shelley and Magazine later, too. Lots of stuff from around the punk era, obviously, and some fantastic choices. Part of the reason I was disappointed that the Pistols seem to have been over-represented in this li
  9. I love Kate Bush, but Wuthering Heights is silly. Impressive, interesting, but far from her best work. It feels like the artist distilled to her purest form, which is rarely what you actually want, you want some outside, guiding influences. Undeniably unique, though. "Holidays In The Sun" was written after the Pistols were booked to play in Jersey, but were banned from performing and ended up stuck on the ferry. It's a decent song, but don't really know why it's made this list alongside two other Pistols tracks. "Uptown Top Ranking" is lovely. I can't really explain why, but I love it. I
  10. "Young Hearts Run Free" is one of my favourite songs ever. I would put it alongside "Be My Baby" as one of the greatest bits of pop music ever recorded, just an absolute masterpiece. There's been a lot of other stuff on here lately that I like, but don't have much to say about. I bloody love Jonathan Richman, though.
  11. He had a new album out this year!
  12. Sparks are one of my all-time favourite bands; I love a band who, when you hear them, you immediately know who it is. And you're never going to mistake Sparks for someone else. I can't even be a hipster fan and point to all the better songs in their back catalogue, because "This Town..." fucking bangs. "Only Women Bleed" is a song I first knew from the Tori Amos cover, but grew to know the original more as I became a bigger fan of this era of Alice Cooper. Bizarrely, it's one of the only songs my Gran ever owned, alongside a few Shadows singles. I have no idea how that came about. "J
  13. Piss Factory is great, though I prefer the Swarf Sisters version that's mentioned. Tom Waits is one of my all-time favourites; while a lot of my love for him comes from later than this (Rain Dogs is probably my all-time favourite album), Heart of Saturday Night is just lovely. Early Tom Waits is very much stereotyped (with good reason, admittedly) as songs about drinking by a drunk. Most of them are a bit mournful and self-pitying because of it, whereas Heart of Saturday Night is almost the exact opposite of that, a rare example of him getting upbeat at this time. Jonathan Richman does a
  14. 100%! I love Jacques Brel, love Alex Harvey, and it's a perfect combination of the two. Scott Walker is one of my favourite artists ever, but his Brel covers tend to be over-produced and a bit too crooner-y - the increasing desperation and insanity in Harvey's voice is perfect for Brel. His version of "Delilah" is superb for similar reasons. Another great list for me, really - Jolene is superb, and 20th Century Boy is (as I think I've mentioned before) my favourite T-Rex song.
  15. yeah, that's a run of songs right up my street! Crazy Horses is an absolute banger. All The Young Dudes is something that, even knowing the most famous version was recorded by Mott The Hoople, I still 100% think of as a Bowie song. There are plenty of other versions, but it just drips early '70s Bowie. Obviously he wrote it, but I think his style permeates it even beyond that. A wonderful song, by an underrated band. The New York Dolls tend to get credit for what came after, rather than what they actually did at the time, and in many ways it's understandable. But Personality Cr
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