Pat Fish of Northhampton, England, is not a rock star for reasons which might include his naturally reticent and embarassed nature, excessive amounts of Oxford education, and the vagueries of the marketplace, but would not include his songwriting talent, which is massive, if perhaps a wee bit limited in scope (no weird chords, all songs about heartbreak, drunkenness, or cannibalistic fantasies about the Prime Minister). "Big Saturday" is a rousing near-rock number in Pat's heartbreak mode. His singing is liquid, soulful (but not shouty), tender, and helpless in the face of love...a love that MUST remain unrequited for the good of other friendships and sundry considerations of duty and fidelity. At least, I think that is what is going on in this simple, yet devastating tune. For more info, see http://www.jazzbutcher.com/htdb/albums/sex.html

I've come to really like this band, but when I first heard them, I wasn't so keen. Like many great bands, Hefner feature a highly distinctive singer, who can take some time to grow on you. This simple 3 and a half minute pop song has an engaging arrangement, in which the piano, drums and guitar are superbly complemented in the chorus by synth, brass, and some great backing vocals. The chorus is quite glorious, with a chord sequence that somehow reminds me of the group Mercury Rev's very best songs. The words go very well with the emotional music as well: 'Lost feelings of love come flooding back/Every time you cry/ you give me little heart attacks/Love seems strongest when it's new/but that's something I can't prove/I can't prove that I love you...'

The only other reference point that occurs to me is Pulp - as the song builds, lead singer Darren Hayman's delivery becomes ever more exhuberant, like that of Jarvis Cocker in the best Pulp songs. Looking at the CD, I notice that the excellent backing vocals are by Amelia Fletcher, who if I remember correctly did some Wedding Present backing vocals, and was the singer in the Sarah records band 'Heavenly'. Anyway, this is a really infectious track, highly recommended.

this a nice song, slightly out of character to the rest of the album ,"Livin' Love"(which is more traditionally sixties pop) this has a big energetic beat and a rousing chorus. perhaps not the most sophisticated composition in the world, but it makes me happy anyway...

Awesome reworking of the milqetoast Tommy James hit, using Sweet Inspirations-ish background singers, infectious bubbling percussion, rousing horns and some of the fuzziest guitar ever to appear on any Scottish person's record. An impeccable Miki Dallon production and a great example of British blue-eyed soul.

A huge hit in the U.K in 1985 and the debut single from a band with global potential still retaing elements of the quick fire genres that happened in those times edgy punk sentiments ,white boy funk and even the two tone /mod revival appeal ,all things to all people ,all the ingredients to make the perfect contemporary pop song,.Its rousing anthemic chorus should have been the springboard to stadium size success which somehow slipped away within a year or two,perhaps its catch all ambitions recalled the adage that you cant please all the people all the time .This one piece of brilliance still remains as a monument to all the should have beens and great white hopes.

It's hard not to smile when you hear this lovely, rousing late 60s number. Roger Nichols is the composer (along with Paul Williams) of many late 60s and 70s hits for, amongst others, The Carpenters. He wrote this song with 'Pet Sounds' lyricist Tony Asher, and they created a beautiful combination of sunny soft pop sounds (handclaps, brass, group harmonies) and pleasing, happy words. Musically, it is superior and extra-catchy, with nice Bacharach-esque touches and great instrumentation. The lead vocal also deserves a mention for sounding almost supernaturally brilliant (far better than it sounds in the sound sample). The singer is Melinda Macleod; her voice is lovely anyway, but here it sounds as if 3 perfect takes have been somehow overlaid on top of each other to produce an incredibly rich, soothing effect. It's over quickly - in just over two minutes. At which point I normally listen to it again a few times.

Masterpiece! This record, a legend amongst those who know it, with its fine writing, arranging and singing clearly deserves its place in the Pantheon of great pop. It may have failed commercially in its time but the beauty of their pop puts it amongst the best of our times and explains why 37 years after its creation it remains exquisitely artful to our ears. I could write 100,000 words scratching at what I love about this group and their first 4 records, and this song alone.But, the Free Design deserve, rather than my dull hyperbole, a good listen. Rousing and sublime, almost TOO GOOD to have been a big hit. If you read a bit about them you realize that these singing siblings made some naive career choices that favored music over money. Our gain.
Some bonehead on this site claimed The Free Design sound like Stereolab. That writer got it butt backwards. Sadly, Stereolab doesn't have the skill to really reach the musical and spiritual depth of the Free Design. Stereolab's OK, don't get me wrong, but they are often a pale imitation of a much richer source. Letitia from Stereolab cites The Free Design as one of her all-time favorite bands, so at least they have sublime taste and honesty when it comes to revealing their sources.

Guaranteed to lift you up way high.
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Fave part: "Wish that I were corny....:

What a depressing yet beautiful song... I was thinking of recommending this when I first heard it, but today it fits my mood better and I feel compelled to do so. Bertrand Burgalat's production mixes modern beats and bleepy sound with strings, alongside Cinnamon's old-school tuneful indie guitar pop with a female vocalist. God, this song is depressing; did I say that yet? But it's one of those depressing songs that's actually glorious to hear, accompanied as it is by beautiful, rousing music. The vocal is rather tender; as if she's sympathetic about what a fuckup the listener is.

Those uplifting lyrics in full (actually, there's more, but I'll spare you):
"when you were young/you had the sun in your eyes/the grass was greener/the days were sweeter/in the next life/you know where you came from, but there's no sparkle in your eyes/you're gonna die/and there's nothing in between to shout about'.

Why would you want to listen to something like that? I'm not sure, but I have it on repeat play today; check it out!

Who could forget the rousing "woo-hooa-a-hooas" that helped define the Pretenders' 1984 smash hit "Middle of the Road"? In a decade that saw synthesizer-oriented pop music arriving on U.S. soil from England, singer/guitarist Chrissie Hynde and bandmates tear it up on this classic example of pure, unadulterated rock music. The Pretenders' offering successfully maintains a formulaic rock pattern, with drums that beat on at a driving frenetic 4/4 pace and guitar riffs that induce foot stomping by the most conservative crowd. By the time the harmonica solo kicks in toward the track's end, "Middle of the Road" has worked itself up into such a musical romp that it challenges anyone to remain sitting down. There is no technical or instrumental trickery to be found here, no "secret sauce"; the song is very much in your face. Its rollicking music and lyrics that paint a picture of a journey make anyone want to hop into the car and take off for the open road. "Middle of the road, is trying to find me/ I'm standing in the middle of life with my plans behind me." You'd be hard-pressed to find anyone who didn't identify with that sentiment. The Pretenders zeroed in on one of humankind's most basic, secret desire � to get up and go � and backed it with an equally driven musical arrangement. And that's what makes this recording a timeless classic.
(AMG)

Michael and the boys knock it out of the park with this rousing salute to their hometown, Cleveland.

The middle class ,friendly face of new wave,mostly known for the student sing a long 2 4 6 8 Motorway ,this track however is the sound of late seventies London a cowbell driven social comment which evolves into a beligerent news cast berating man,s basic lack of freedom before returning for arousing chorus.
An underplayed but constant hammond organ gives the track a modern hymn like feel,a little idealistic but a great musical document of the sound of the U.K for a few months in 1978

�Something Better Change� was released in July of 1977 as the first single from The Stranglers upcoming second album No More Heroes which would appear in mid September. Along with the albums title track, �Something Better Change� would signal a move in a more overtly pop direction that was only hinted at on the group�s first album and would manage to peak at #9 on the U.K. singles chart. This is not to say that The Stranglers abandon their reputation as caustic agitators as No More Heroes was littered with politically contentious tracks such as �I Feel Like A Wog�, �Bring On The Nubiles� and �Bitching�, but the song�s infectious guitar riff and winning melody suggests a tenuous party rock atmosphere. It�s left to singer J.J. Burnel�s particularly gruff vocal performance to keep thing in the punk zone as he alternates between a gnarly throated delivery and a melodic toned timbre. Pumping organ and a buoyant mid-tempo rhythmic romp keep the energy high as he confronts the status quo with a tirade against stifling apathy, flaunting the punk new order with the taunting second verse, �Don�t you like the way I dance? / Does it bug you? / Don�t you like the cut of my clothes? / Don�t you like the way I seem to enjoy it? / Stick my finger right up your nose!� The bridge becomes a jubilant anthem where Burnel voices a punk battle cry to a flurry of organ runs and a growling bass line, �Something�s happening and it�s happening right now / You�re too blind to see it / Something�s happening and it�s happening right now / Ain�t got time to wait�. The chorus is a simple statement, Burnel demanding �Something better change!� with support from the boys in the band who join in for a group shout. Ironically, the arrangement also shows signs of classic rock moves, including a stinging guitar solo and an old school build up of the chorus late in the track.
(AMG)

All the elements that made Dexys so interesting are distilled into this spritual eoic,passion ,commitment and the awkward genius of Kevin Rowland from the album that gave the world "Come on Eileen" this is ifve minutes of beauty,sweat and belief.Commencing with a pastoral flute and quickly growing into that familiar dexys blend of brass and strings ,a rousing chorus and a lonely whistled finale .Not immediately accesible but if you're a "bit" interested you could be converted for ever.