JUNE PLAYLIST

1.  The Shirelles – ‘Everybody’s Goin’ Mad’ (1963)

“What is this world coming to, with all the crazy things folks do?” What a lovely world it must’ve been when all the Shirelles had to worry about was girls in wigs, boys wearing sunglasses after dark, beatniks rejecting conversation and diplomats doing the Twist.

2.  Kenny Wells – ‘Isn’t It Just A Shame’ (1966)

The use of space and silence within this utterly exquisite soul record is sheer perfection.

3.  Ann-Margret – ‘It’s A Nice World To Visit (But Not To Live In)’ (1969)

Ann-Margret in angry, stamping, fuzzed up punk mode. Lee Hazlewood mans the controls.

4.  Paula – Mi Habitación (1970)

Portuguese songstress Paula Ribas sings in Spanish on this opening cut to fantastico new compilation and summer soundtrack, Desafinado: Spanish Bossa Nova 1963/1975, out now on Adarce Records.

5.  Neil Young – ‘Mellow My Mind’ (1973)

We’ve been blessed with a couple of essential Neil Young releases from the vaults in recent months. First the acoustic The Hitchhiker and now the plugged-in Roxy: Tonight's the Night Live, recorded in September ’73.

6.  Millie Jackson – ‘Tell Her It’s Over’ (1975)

Its predecessor, the love-tanged Caught Up, spawned Millie Jackson a deserved R&B Grammy nomination the previous year for her version of ‘If Loving You Is Wrong I Don't Want To Be Right’ and Still Caught Up follows the same template, an even split of songs sung from the point of view of a wife and mistress. Soap operas are seldom as enthralling as this.

7.  Ann Sexton – ‘I’m His Wife (You’re Just A Friend)’ (1977)

I’ve been on a massive Ann Sexton high after her incredible show in London this month and have hammered The Beginning, Ann’s second and, to date, last album. Criminal she’s not made more records.

8. The Higsons – ‘Conspiracy’ (1982)

So many questions pale into insignificance next to “Who stole my bongos?”

9.  Tracyanne and Danny – ‘Alabama’ (2018)

Tracyanne Campbell’s voice makes me melt at the best of times but here remembering her Camera Obscura bandmate and friend, Carey Lander, who died in 2015, it’s difficult not to well up. “When I’m an old lady I’ll still miss you like crazy”. Heartbreaking.

10.  Starcrawler – ‘I Love LA’ (2018)

These young Americans know how to put on a show. Guitarist Henri Cash throws the shapes of Wayne Kramer and Jack White while singer Arrow de Wilde, a scrawny pile of bones wrapped in muslin and blood, staggers around zombified like Carrie after her prom. At the Garage in Highbury last week they riffed and chugged their way through a bunch of two-minute dumb ass glam rockers before ending the gig playing on the shoulders of the audience. Pure theatre. Hurrah!

ANN SEXTON at the 229 CLUB, LONDON

“You’ve Been Gone Too Long!” shouts a fella in front of the stage filming Ann Sexton on his iPad. He does it after every song. To my knowledge this is the first time Ann has sung in London, so you’d think Poundland Martin Scorsese could wait more patiently. “You know I’m gonna do that one,” replies Ann, “I couldn’t get out here alive if I didn’t.” She knows it, we know it.

The song in question, co-written by Ann and her husband Melvin Burton, and originally the 1971 B-side to a now mostly forgotten ‘You’re Letting Me Down’, is one of Northern Soul’s defining anthems. It’s not though especially “Northern” in the traditional 4x4 Motownesque stomp, but a funkier new dawn warning about what happens when a man doesn’t take care of his woman, there’s always a Jody waiting in the wings to move in.

When Ann plays the song, as her encore, the room goes bananas, and mateyboy finally gets the money shot he’s been waiting for. It’s a spine tingling moment but not one which overshadows the previous hour, which was a one of the funkiest, most badass, sets of ball squeezing soul music one could ever wish to see. Ann Sexton is simply brilliant. Her voice astonishing. Add a band who blatantly understand, and can achieve, the guttural power and snap of funk and are flexible enough to follow Ann’s lead is a match made in heaven. Mr YouTuber’s tiresome shouting, quite frankly, disrespectful to an artist pouring her very being into her set, leaving nothing behind. Ann isn't dialling this shit in. 

All too often audiences are presented with “heritage acts” who are a shadow of their former self. Despite their best efforts they’ve either lost what they had through the ravages of time, or neglect, and each song is like riding a wave: one moment reaching a quick peak, then sinking down again. Allowances are made and, even with tepid backing bands, they provide a nice night out and an opportunity to give something back, to say thank you for those wonderful records that have enriched our lives.

Ann Sexton is different. No allowances need to be made. This is as good as it gets. Ever. Caught in a crossfire hurricane, she shimmies around the stage, dancing from side to side, and as unlikely as it seems, I can’t imagine her voice has ever been in better shape nor a band, who by their own admission were under rehearsed, give as much oomph.

‘You’re Losing Me’, the second most popular song in her repertoire, is a sheer dynamite. The bomb. She gives the trumpeter some, then the organist, teasingly toys with the drummer. People are dancing and it’s rare to see a London audience dance like this. ‘I Still Love You’ tears the roof off the mother, as does ‘It’s All Over But The Shouting’, before diving into the swampy funk waters of ‘You’re Gonna Miss Me’.

‘Come Back Home’ is slower, cards on the table stuff. How anyone could’ve left Ann in the first place blows my mind. It makes the original recorded version, as great as it is, seem innocuous. By the time Ann is through, she’s wiping real tears away and apologising for getting emotional. This isn’t theatre. This is from the heart. The soul. I wrack my brain to recall being in a room with a voice as moving. Maybe never. ‘I’m His Wife (You’re Just A Friend)’ from 1977’s The Beginning is another winner, equal to anything the marvellous Millie Jackson was doing at her peak.

The sweaty 'Rising Up', an irresistible mix of the church brought to the clubs, before Ann exits the stage only to return for the world's most predictable encore. A truly unforgettable night.