Minding me 3

There's a cult of Meet Danny Wilson lovers and if you ever ask them about the album, a Steely Dan comparison is bound to come up. It's not without merit, and considering that the other bands the album might remind you of – Deacon Blue and Fairground Attraction – aren't on the tip of much of anyone's tongue, Steely Dan is at close as it comes. But the Dan never sounded this lively, this exuberant, this finger-snapping. If that makes them sound light as feather, keep in mind that Lloyd Cole loves this record. Head songwriter Gary Clark shares some of Cole's love of literate and clever lyrics that fit just right with the notes they land on, but he prefers a horn-section blast to Cole's guitar jangle (plus Clark has more Jimmy Van Heusen records than Cole does, no doubt). The sweet "Mary's Prayer" is the almost-hit, barely making enough impact to call the band a one-hit wonder. It's only part of the story for an album that effortlessly hurls clever arrangements and lyrical stingers out of the speakers. Opening with the syncopated and humble "Davy" and then switching to the Vegas hipster, Bobby Darin-for-the-'80s "Aberdeen" makes for a killer opening, and the album keeps minding the pace.

Charlie Watts “Anthology” is an affectionate retrospective and a reflection of just how frequently Watts was able to exercise his jazz muscles between Rolling Stones commitments to create a bespoke discography of his own. Including 3 unreleased tracks. The names of Charlie's jazz heroes fell from his lips like a superfan turning the pages of a personal scrapbook. Charlie Parker, Gerry Mulligan, Chico Hamilton, Dave Green, Stan Tracey, Peter King, Courtney Pine, Gail Thompson, Brian Lemon, Gerard Presencer, the Red Rodney group and collaborator Jim Keltner. He knew every player, every session, every album, every outfit they wore on the cover, and he spoke about them with a deep and genuine reverence. He may have been a globally loved hero in the biggest band in the word, but he swatted away any compliment or comparison with his musical favourites. He counted himself their admirer, never their equal. The Anthology includes an extended essay by Paul Sexton which documents Charlie Watt’s jazz career and the essential albums covered in the collection.