Old Fruit

Old Fruit 30th January 2026

The Charlatans – One To Another

This weeks’ selection of vintage music focuses in on great bands of the 1990’s playing their classic material to a present day mid 2020’s audience. And still sounding amazing if not even better than in their heyday. It also maybe highlights the difficulty so many bands have in matching the highs of their early records with new material years later. There are some in these selections who have re-formed on the basis that they remain creative and put out fresh music, others who willingly accept their audiences appetite for the old stuff and then some, like first offering The Charlatans, who have never really stopped writing new albums and mixing it up live with the older classics. Still, seen here in the 2025 series of ‘Later With Jools Holland,’ they had initially played a couple of tunes from their latest release but it was still their rendition of this 1996 classic that gave the show a suitably rousing finale.

Blur – Beetlebum

Blur’s Damon Albarn and Graham Coxon have both individually remained relentlessly creative musicians and have learned the value in re-branding for newer projects and loosening themselves from the shackles of the past. And even though they are fully aware that the re-formed Blur are playing Wembley Stadium, as they did in 2023, not because of the new music but rather to let the golden days of the nineties rain down one more time, this did not stop them from tying a recently recorded album of new songs to the venture. By the time of the concerts however, there was only a passing acknowledgement of ‘The Ballad Of Darren’ during shows, attracting crowds of roughly 150,000 across two nights, that revisited the classics such as this 1997 number one single, taken from their ‘Blur’ album of the same year.

The Lemonheads – My Drug Buddy

Of course the thing about The Lemonheads is that they are essentially a one man vehicle for the music of Evan Dando, the other band members remaining a rolling cast of side-people that would not detract from the commercial clout of a Lemonheads project, no matter the identity of the players at Evan’s side. He obviously was canny enough to recognise that the band name packs more of a punch for his new music than he received when trying out as a solo artist. Furthermore, going out under the band name has given Dando license to dip into the pair of still un-surpassed grunge era classics they released; ‘It’s A Shame About Ray’ and ‘Come On Feel The Lemonheads’. A temptation that got the host especially excited on a recent TV appearance for ‘Tonight With Jimmy Fallon.’

The Cardigans – My Favourite Game

There is no evidence that I can find of The Cardigans having ever officially split up but despite this, they have not released a new album of songs since 2006’s ‘Super Extra Gravity.’ From 2011 onwards however, they have played together for occasional gigs or festival appearances, describing themselves when asked as still a going concern although evidently one that is happy to play the old stuff. It is true that they were thought of as quite twee in their earlier days and so by the time the band hit big with this song later in the 1990’s, it actually was a head-turning surprise. By the sounds of this recent live appearance, the harder rock muscle of their work remains an element they are very comfortable with, indeed they quite excel at it.

The Beta Band – Dry The Rain

Before they got a big shout out in the film ‘High Fidelity’ towards the end of the nineties, not too many had heard of The Beta Band and indeed, by the time they split up in 2004 it did feel like a case of gone way too soon. Some 21 years later they announced their reunion to tie in with a deluxe re-issue of ‘The Three EP’s’ and they atypically, amusingly, accompanied the news with statements about “shaking it out every couple of decades” and “showing the wall the Luminol, killing the lights and hitting the UV.”

Oasis – Cigarettes And Alcohol

Unlike their rivals from the decade, Blur, the re-formed Oasis showed absolutely no interest in writing any new material or attaching any particular importance to having the original line up of band members from the classic period. Neither were they bothered about TV or film coverage of the shows, this was all about the numbers all the way and squeezing every last drop out of the public appetite to attend and experience this communal live event. That is not to criticise though, because as this live clip from last year definitively proves, the combination of audience energy and band conviction did generate some authentic rock ‘n’ roll momentum from the occasions as the songs that made Oasis great in the first place enjoyed a fully deserved resurrection.

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Fresh Juice

Fresh Juice 26th January 2026

Craven Faults – Yard Loup

This is taken from the new Craven Faults album ‘Sidings’ which is out now on The Leaf Label, a dependably bold and present day progressive label who make a virtue of the idea that there is some fun going forward. This is an act shrouded in some mystery but they are building a track record laced with expansive analogue electronic music of the mind. The new record takes its inspiration from the rusty deserted landscapes of post-industrial Northern England where the ghosts of electricity smoulder out of disused buildings, wherein ancient monuments of sound and recording equipment are recharged into existence and Craven Faults are a conduit for the thrum of sounds that re-emerge back into the atmosphere. This is electronica without limits, a sound that messes with the balance of time and space where the light and shade, the flesh and the steel, the settled and the disturbed breathe and feel as one.

Lady Nade – One Of Us

It is delightful to learn of new music coming from Lady Nade, an artist whose work balances the integrity of a folk singer-songwriter with the emotional heft and melodic flare of a serious soul artist. There are not too many I can think of who walked that line so convincingly, maybe Joan Armatrading or Tracy Chapman but either way, the singer born Nadine Gingell has had all these facets from the get go. It is said that the artists earliest influences came from the record collection of Nadine’s grandfather, which exposed her to Americana and rock ‘n’ roll as well as the more detectable elements of the Lady Nade sound. And now, ten years on from debut ‘Hard To Forget’, recorded in her kitchen, there is every reason to predict that Lady Nade’s evolution into an artist of great depth and an unmistakable creative fire is playing out before our very eyes and ears.

Lucinda Williams – World’s Gone Wrong

And while I am talking about singer-songwriter artist who are making a welcome return, here is one of the greatest ever. This is Lucinda continuing on the path of rehabilitation from a stroke using her creative energy as a font for regeneration. There is a bit of fire and anger in there too, the singer in full react and respond mode to the unfurling political situation in her homeland and stating in plain speak the way she sees it. But anyone can spout an opinion or jump on a soapbox, the craft is turning these impulses into song and creating a new piece of art; it sounds like Lucinda Williams still has all those senses fully plugged in and functioning. No wonder she has, with good reason, been called the female Bob Dylan; just like Dylan these days, the human condition and all its physical pitfalls does not dim the desire or the need to feel, write, perform and express. This is the title track from her new album.

Foy Vance – I Think I Preferred The Question

This is one that came out towards the end of 2025 by the Northern Irish singer-songwriter Foy Vance. It is a new chapter for Foy as he moves to Rounder Records and mines an earthy, muddy realism in both his sound and his composing. The track was produced by Ethan Johns which instantly ensures the offering arrives with a trademark of quality, but still it would be nothing if Vance was not on the devastating form we find him in here. Lyrically it seems to be meditating on the wonder in mystery, in the importance of enjoying the journey towards something, because maybe the feeling of fulfilment, of reaching your destination, does not match up to the mysteries of the unexplained. The disappointment of reality maybe? Well if I try and come to a definitive conclusion I am rather proving the point made in the song; instead just enjoy the drama and tension as it builds in this superb track.

Katherine Priddy – Hurricane

Not a cover of the Bob Dylan classic but instead perhaps the folkiest of all the artists I have featured this week, Katherine Priddy, tapping into the gentle soulful groove I spoke about with Lady Nade previously. More so, there is a subtle hint of smooth jazz and bossa nova at play here. All of which sit in sharp contrast to the darkness that prevails in the shades of violence in the lyric, showing an artist who is evolving away from the pure folk routes of her earlier work into a musical force across the spectrum. ‘Hurricane’ is an immense song with some irresistibly lush changes as the verse builds to the chorus. This is the third single from her new album ‘These Frightening Machines’, which is coming out on March 6th 2026.

Greazy Alice – Circles

This is some tender, laid back, rear porch, rocking chair, country balladry of a high stripe to close proceedings this week. With the ‘As Time Goes By’ album due out at the end of the month, this is from an EP of the same name released on Loose by a band comprising Alex Pianovich on vocals, guitars and piano, Jo Morris on backing vocals, Lee Garcia on drums and Will Repholz on bass guitar. There is an element of grief and the sense of life dishing out some hard lines imbedded into this tune, but a light shines through the melancholia as well, ushering a motion from introspection to hope and beauty.

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Old Fruit

Old Fruit 23rd January 2026

Nancy Sinatra – These Boots Are Made For Walking

This week’s Old Fruit half dozen music offerings is based around early music videos, a look at how acts were approaching the visual medium in pre-MTV days, long before ‘Video Killed The Radio Star’ in fact, which is where many assume the age of the music video began. Actually, the idea that a piece of promotional film could be shot to accompany a 45 release was already widely practised in the 1960s, albeit with far less attention paid to the quality or indeed the purpose of the picture. Half the time, as we shall see later, it was merely a case of a band getting their hands on a camera and filming themselves larking about. Not with todays first example though, Nancy Sinatra may have gone down the obvious sing and dance route but isn’t that all this classic slice of sixties pop needed? As long as Nancy and the dancers are all wearing boots and there are plenty of primary colours, hair shaking and movement they could hardly go wrong. Stand on it Nancy!

Mason Williams – Classical Gas

With no specialised music channels to aim for, often films would be created with a specific slot on an established TV show in mind. Such was the case for Mason Williams, who just happened to also be a chief writer on The Smothers Brothers Comedy Hour and so had a ready made outlet for the short film accompanying his latest composition. By marrying a montage by Dan McLaughlin called ‘3000 Years Of Art,’ which utilised a method known as kinestasis, the early concept video showed rapid-fire images that created a sense of motion and helped push this classical guitar showcase high up the charts both in the US and the UK.

The Beatles – Rain

It is Strawberry Fields Forever that people often think of when crediting the Beatles with pioneering the music video medium in addition to multiple musical grounds the band broke. But, the previous year they had purposely shot promotional films for their latest ‘Paperback Writer’ 45, going to the trouble of capturing this video for the b-side ‘Rain’ as well. There is no suggestion of narrative or concept, this is nothing more than the fab four looking cool in the picturesque surroundings of Chiswick House and Gardens while half heartedly miming to the recording (sometimes, sometimes not). Still, at a time when the twin pressures of demand and volume of work made it impossible for them to reach or be seen by their whole worldwide audience at any one time, a short video to go with the latest records felt like a perfect solution.

Bob Dylan – Subterranean Homesick Blues

An artist less likely to be remembered as a music video pioneer than Bob Dylan you probably could not find. Admittedly, in later life he has caught everyone by surprise and appeared to fully embrace the medium, there is the ‘Must Be Santa’ video for starters with its inexplicable long wig and dancing but then, after Bob made a Christmas album anything became possible. That does not change the fact that for the longest part of his career he had no interest in videos. There is an interview in Q magazine from 1989 when the journalist reports on his record company trying to cajole Bob into making a video, only to get the response “can’t they use a photo?” Maybe he felt he had already mastered the form with this iconic piece shot in 1965? It certainly is a classic and best of all, if you are ever near the Savoy Hotel in London just go around the back and there, minus the scaffolding, is the exact same unchanged location that this film was shot.

Pink Floyd – Point Me At The Sky

Here is a band at the other end of the spectrum in as much as they would go on to invest creativity into the visual side of their music every bit as much as the audio and songs. Here though, there is precious little evidence that they will go in that direction. As friend of the band Aubrey Powell told Uncut magazine about this film: “When it came out, they asked Storm and I to make a film. We went to Biggin Hill and rented a couple of Tiger Moths. Everybody took turns to fly in them while we were shooting with a couple of old Bolexes and an Arriflex 16mm camera. It was all Biggles and jolly hockey sticks. That’s a very middle class, public schoolboys fun day out. Five Go Mad At Biggin Hill.”

Small Faces – Lazy Sunday

As much of a laugh as the Floyd boys may have had shooting their film, it was positively mapped out and storyboarded compared to this Small Faces effort. The whole essence of the film seems to be just turn the camera on and we will do something off the top of our heads. Crack a joke, run from left to right, shoot Steve as he goes into the outside toilet round the back of the house. It’s a lazy sunday, that will do won’t it? There is the one shot of Marriott taking a nap on the grass but it feels like they set up the shots of giant speakers magically appearing at the start, realised that had taken too long to set up, then captured the disgruntled elderly neighbour scene and thought, well that will probably do. The thing is, this is the Small Faces and ‘Lazy Sunday’ is one of the many delights on their classic ‘Ogdens’ album so yes, they can do as they please, the music does more than enough on its own!

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Fresh Juice

Fresh Juice 19th January 2026

The Magpie Arc – The Mantle

I wrote about this band on these pages for my Ely Folk Festival review last year, an event in which I was dazzled by their brilliant re-ignition of the electric folk rock style pioneered in the late sixties by bands like Fairport Convention and Steeleye Span. At the time they were blessed with the guitar wizardry of Martin Simpson who has since left the ranks, but the evidence heard in their new material here proves that they remain a band plugging an essential shot of voltage enhanced energy into the folk scene. They also have a couple of big names on board too with Steeleye Span’s Maddy Prior helping out on vocals and Jethro Tull’s Ian Anderson on flute. With or without the folk glitterati though, the Magpie Arc remain a band worthy of your attention. This is a preview single from their forthcoming album.

Muck And The Mires – Tripping Out On Love

This slice of frantic guitar pop, infused with a real garage rock sensibility, is released as a new seven inch single on the Rogue Records label. They have been around for twenty-five years now, releasing music that has caught the attention of anyone possessing a love of that sixties British Invasion guitar band sound and building a favourable reputation thanks to the raw power of their live shows. They were even named the number one Garage Band by the E Street Bands Steven Van Zandt once, a man who knows a thing or two about that primitive sound. So, you know what to do, get out and enjoy the visceral delight of buying a hot new 45 and get this one sailing up the charts.

Amy LaVere & Will Sexton – Time Warp

It has been six years now since Amy LaVere released her superb last album, ‘Painting Blue’. In that time new music has been scarce although she has continued to play live in the US alongside her partner Will Sexton. I am always keeping my ear out for new Amy music simply because every album since her 2005 debut has been a high end example of the best that modern country and bluegrass inflected songwriting has to offer. She is a musician with a fine ear and an easy to connect with writing style, not to mention a sublime voice and deft double bass touch. The end of the concert clip suggests a live album is forthcoming at least and, as heard with this new song, a couple of fresh numbers have crept out with little fanfare. I am certain there are many other than me still waiting eagerly for a new album of Amy LaVere songs, this excerpt hints that the wait might not be in vain.

Peter Gabriel – Been Undone

On the subject of artists who keep their audience waiting a long time between LP releases, well Amy LaVere could take another fifteen years to make a new record and she would still be no slower than Peter Gabriel between the release of 2023’s ‘i/o’ and the preceding ‘Up’ album. So the fact that this month has seen him begin another series of monthly, new moon adjacent, track drops that will, sometime later this year, form the content of another new album is a huge, very welcome, surprise. He hasn’t released a new studio album within three years of the previous one since the 1980s. My position remains unapologetically pro-Peter, my justification for the snails pace between albums always being that at least, when new music did finally arrive, it was always something worth hearing. Despite the relative speed, that is still the case with ‘Been Undone’, a dream state hymn that proves the mans soulful voice still pulls some emotive punches. When it gets its proper full length release, the new album will be called ‘o/i’.

Hen Ogledd – Scales Will Fall

We move from a man who used to make his bandmates stare awkwardly at their instruments when he took to the stage dressed as Britannia to a group where no such problems exist, it looks like everyone is raiding the dressing up box with uninhibited enthusiasm. They have been around for a few years now, building a reputation as an unpredictable shape-shifting unit wherein ancient Celtic themes and prog aesthetics are married to avant-folk electronics and experimentation. Hen Ogledd are a perfect outlet for the national folk music treasure Richard Dawson to fly his freak flag but his bandmates Rhodri Davies, Dawn Bothwell and Sally Pilkington all offer crucial ingredients to the far-out mix. This rousing tune is taken from the album ‘DISCOMBOBULATED’, out on 20th February 2026 on Weird World.

Nevaris – Ninth Sun

The key personnel in this live studio session, part of the Nevaris Project, are DJ Logic, Peter Apfelbaum, Jojo Kuo, Will Bernard, Lockatron, Angel Rodriguez, Jonathan Maron, and Matt Dickey. The newly released ‘SoundSession’ EP was recorded in a single day at Orange Sound studio in New Jersey. Playing and interpreting music written by percussionist Agustin Nevaris (who also led the nine piece ensemble) and Bill Laswell, the session was originally planned as a live stream but the sound of the live ensemble was so deep and inviting that the decision was, correctly I believe, taken to capture the sound on disc and release it to the world. The combination of dub, funk, Afro-Latin rhythms, turntablism and improvisation is an intoxicating one for sure.

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Old Fruit

Old Fruit 16th January 2026

David Bowie – Boys Keep Swinging

For the first edition of Old Fruit of the new year I have turned to the artist whose music has been receiving a very pleasing amount of attention around the tenth anniversary of his death. Bowie’s catalogue is an immersive maze once you get into it and I sense that the deep diving of his audio creations has only just begun. I did not see any credibility in a Guardian article claiming his influence is on the decline, you cannot measure the value of an artist like this on Spotify streams alone. Besides, skim away the pop hits of his 1983-86 period and you have to accept he was mostly an act outside of the mainstream, spearheading trends rather than following them. But, Bowie was also a master at infiltrating the popular arena even when the sound was edgy or abrasive. A rare trick aided by his willingness to appear in comedic TV skits such as this one, on the Kenny Everett Television Show.

David Bowie – White Light White Heat

Ask any serious David Bowie fan what they thought of the 1987 Glass Spider tour and chances are the feedback will not be that positive. Perhaps, more than any other time in his career, this was the moment when he was creatively drinking from an empty cup, with that years ‘Never Let Me Down’ album offering little to inspire. So, he presented a show high on scenery, props and choreography with a slick band at a time when appetite for eighties excess and tinny synths had all but dried up, especially in the underground and alternative scenes close to Bowie’s heart. Certainly, concert recordings from that year do have a little of the Spinal Tap doing ‘Stonehenge’ about them, especially the spoken dialogue that introduces ‘Glass Spider’ itself. That said, with a guitar line up on some dates that included the double kick of Peter Frampton and future Bob Dylan mainstay Charlie Sexton, the shows had their moments, like this energised scrub down of a Velvet Underground classic.

David Bowie – 5.15 The Angels Have Gone

The late careers of many a 20th century music icon have much in the way of undiscovered treasure, it seems that the bigger the impact of the early years the more likely it is that quality later work will be overlooked or underappreciated. I include Paul McCartney, Bob Dylan, Neil Young and Leonard Cohen in this list but it does absolutely apply to David Bowie. If you look at the final twenty years of his life, bearing in mind he took eight of those away from music, then the final seven albums in the catalogue present some of the best produced, most engaged, switched on and ultimately exciting music of his career. Starting with ‘Earthling’ all the way up to ‘Blackstar’, and I am including, unreleased at the time, ‘Toy’ in this because it is so good, and these alone represent a body of timeless work to match the best of all but the upper echelons of music artists in our time.

David Bowie & Cher – Young Americans Medley

The prime time TV studio medley of hits type performance might be the domain of far smoother operators than Bowie, it is the kind of thing you would expect from Neil Diamond or Tom Jones rather than the man who made music with Lou Reed, Iggy Pop and Trent Reznor. But he wasn’t labelled a chameleon for nothing and the brilliant thing about this performance, rather than the medley itself which has so many rough joins it should be sent back to carpentry school, is the way David plays it totally straight without a hint of irony or detached cool. Just like Cher, he throws himself into it and in doing so delivers an improbable moment of music TV gold dust.

Tin Machine – Heaven’s In Here

Whilst the new documentary about Bowie’s later years, ‘The Final Act,’ has a lot to recommend it, I did feel it miscast the Tin Machine era of 1989-91 somewhat. It is very true that the UK music press especially ripped them apart and mocked Bowie’s attempts at fading into the background as a band member. It was like they felt he was being dishonest, just wanting him to be who he is rather than dictate that writers had to accept this new framework. It is a mystery that the more clued up journalists did not see that he was just feeling the times in an era when baggy and grunge alternative culture were rebelling against the pop star trappings and trying to reprioritise music. I feel that the documentary should have reflected more how Tin Machine were a fairly well executed idea, and a vital shake down for the fringes of Bowie’s audience that he probably rightly feared would hold him back creatively. And as this clip proves, the band did indeed have some very good moments wherein Tin Machine’s David adopted the front man role with real engaged commitment.

David Bowie – Let Me Sleep Beside You

We close this edition with a little sixties London pop gem from the future space cadets early years. This is exactly what I mean about the appreciation of his life’s work still being in its early days. Before he first troubled the charts in 1969 with ‘Space Oddity’ David made a lot of great records, of their time but without ageing badly, including a Deram album, that did not register commercially at all. Today, time has levelled things out to the extent that tracks like this sound like a whimsical, British psych era, colourful pop nugget. It matters little that hardly anyone heard it in 1967, it has risen over the years, just as several others from this period have, to a place of belonging in the vast, varied and vital David Bowie catalogue.

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Fresh Juice

Fresh Juice 12th January 2026

Carson McHone – Idiom

Welcome back and happy new year to all. I am starting the Fresh Juice feature for 2026 with half a dozen selections that I did not squeeze in during the 2025 editions. Kicking the year off, it is Carson McHone whose ‘Pentimento’ album was released in the autumn on Merge Records. Now based in Ontario, Canada, this was McHone’s fourth solo album in ten years of releasing records created in collaboration with Daniel Romano. It is a real audacious treat of a folk-rock album, ram-packed with the kind of structurally strong songwriting that stands shoulder to shoulder with the giants of the genre, but also infused with a mysterious alien spirit that lends the record an air of the unknown, like a broadcast from another star. This is superb.

Mclusky – People Person

Returning in 2025 with their fourth LP record and their first album in twenty years were late 1990’s, early 2000’s noise-punkers Mclusky. The record ‘The World Is Still Here And So Are We’ was released via Mike Patton’s Ipecac Recordings and locked straight back into the abrasive style they were always known for. Front man Andrew “Falco” Falkous continues to bring the noise but not without some regrettable toll on his hearing. Of the above track he said it’s “the song that gave me tinnitus, so asking me about it is really cruel. it’s probably about being overwhelmed by the world because that’s what all of our songs are about.”

Jon Cleary – Zulu Coconuts

This may not be the music to suit the weather on this snowy January morning but then again, perhaps this is exactly what we need. I defy you to listen without tapping your foot at the very least, but a hip swaying frug across the floor would be far more appropriate. Maybe if Jools Holland’s ‘Hootenanny’ had booked Jon Cleary instead of the friggin Kooks I might have seen the new in with a smile rather than a grimace. This song had actually been doing the rounds for a couple of years but finally got an LP release in 2025 on Cleary’s ‘The Bywater Sessions’ album. At the New Orleans Mardi Gras, the Zulu Parade takes place on Fat Tuesday and this innuendo laced song is a nod to the prized hand-painted coconuts thrown to crowds during the parade.

Sam Shackleton – O Death

As featured on his independently released 2025 album ‘Scottish Cowboy Ballads And Early American Folk Songs’, this brief home recording offers a tantalising taste of the authenticity in Shackleton’s music. He says of this that it is “on the banjo by the fireplace at my mother’s house on the lovely Isle of Harris, Scotland. This is a great American folk ballad and is commonly sung in the Appalachian region, where it descends from much older Scottish and English folk ballads carried there by the many thousands of emigrants that made the long voyage. I really hope you enjoy.”

Ben l’Oncle Soul – I Got Home

This was a wonderous, funky single taken from l’Oncle Soul’s seventh album released in 2025 called ‘Sad Generation’. It was a real-deal slice of retro soul that wore its classicist’s style with pride safe in the knowledge that the track is a killer that would grace any dancefloor. Ben is a French soul singer from Tours who is nothing new to attention grabbing cuts; he previously turned heads in 2010 with a cover of The White Stripes ‘Seven Nation Army’ and has built a deserved acclaimed reputation as a live performer who can deliver the Motown and Stax goods with a modern day cut and thrust.

Snarky Puppy & The Metropole Orkest – Chimera

Recorded live in January 2025, at KABUL à GoGo in Utrecht, The Netherlands, this is an addictive rendition of a piece from the album ‘Somni’ released on GroundUP Music. This was the second collaborative release between the award winning jazz collective and the Metropole Orchestra following the 2015 Grammy winning project ‘Sylva’. Bandleader Michael League had composed a deep, progressive even, piece that certainly warranted the grand cinematic treatment a full band and orchestra arrangement offers. ‘Somni’ could perhaps be called a concept album, exploring as it does the various dream stages of sleep in a sequential order that runs from falling to sleep to waking up. But, to be clear, this brilliant music will not make you nod off, quite the opposite.

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Monthly Playlists

January 2026 Playlist

As has now become the tradition for the January Fruit Tree Records Monthly Playlist, this selection is made up entirely of tracks that were released across the previous twelve months, and all have not been previously playlisted on this site. The journey across the seventy-five tracks in all the playlists begins with more accessible sounds, not necessarily mainstream or pop but certainly leaning in that direction as part of a Fruit Tree Records world where the pop charts matter and are populated by artists crafting exciting pop songs. The playlists then branch out to ride the surf across many of our favourite genres, namely folk, soul, R&B, singer-songwriter, Americana, country, rock ‘n’ roll, psych and prog before concluding (I like to think rewarding the listeners who have chosen to go the whole 4-5 hours in) with deep jazz and classical styles that demand time and attention. The only difference with other months is the choices are open to all ages and eras.

This time though it is strictly 2025 music and I have to say, listening through it all as I write this it is striking how little I hear a trace of a sound identifying the year we are listening to. That could be partly down to the taste of the curator (me), but I think there is a lot more to it than simply my preferences being ‘new music that sounds like old music.’ If that was the case, I would be operating in too much of a niche and putting together a track list of this size and length would be near enough impossible, especially with my self-imposed ‘one track per artist’ rule. But I spend the duration of every year listening to new and old music to satisfy all corners of my musical interest and there is never, nor any sign of, a shortage in new releases that excite the senses. Yes, there are certain modern day production tropes that I cannot stand but I do not really think these could be described as innovative these days either. That hideous auto-tuned vocal sound that ruins too much current pop has been around since the last century, I am sure I can recall Cher doing it to death back in 1998 and she can actually sing!

What I believe the playlist does suggest is that the present-day music scene still has a lot of wonderful things happening. All the genres I listed above, with the exception of classical possibly, enjoyed their golden age over the past seventy five years, which is not really that long when you think about it, so it is entirely appropriate for all these sounds to be alive and kicking right now with talented artists applying their own ideas and continuing to do interesting things within them. The idea that the only moment that counts is back when the sound was originated is simply not true and taking that approach to your listening will, I believe, lead to you missing out on a lot of great music. Take the flowery psych-pop sound that flourished in England between 1966 and 1968. It is almost a design classic in eccentric pop perfection so naturally, there are bands who tap right into that freakbeat energy to this day. Take a listen to the Len Price 3 in this playlist for a fitting example of that. The problems emerge when an act is just playing at dressing up, using the style and sound in a straight copycat style but not injecting any new ideas or inspiration to the song writing. That is akin to presenting the filled in page of a colouring in book as a new work of art. But I do not need to name and shame, I simply do not include anything that comes across that way to me in these posts. As a music critic it is sometimes tempting to savagely deconstruct the baffling popularity of Sam Fender, but it is far better for the soul to champion the things you love. Do not listen to that (whatever is being pumped on the front page of Spotify), listen to this!

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Monthly Playlists

December 2025 Playlist

This past month has delivered the sad news about the passing of Stone Roses and Primal Scream bass legend Mani. I have to admit, at a time when barely a week will go by without the passing of someone whose records I bought or who played on tracks I loved or simply was involved in music of the last 75 years in some way, the news that Mani is gone felt like a significant light had gone out. This has something to do with his personality, he was a life force and an uplifting presence wherever he roamed who possessed a highly unusual facility, for a non-singing bass player, in that he was always a focal point on stage. A front man without actually being the front man. He was the source of the funk in the Stone Roses when they changed the UK musical landscape with that legendary 1989 debut album. Throughout the 1990’s that self-titled classic was routinely voted or acclaimed as one of, if not ‘the’ on occasion, greatest albums of all time and whilst that status has levelled out in modern times, it remains a brilliant LP that was responsible for a lot of welcome changes. No longer were indie bands restricted to the outsider, floppy fringe sporting diffident introspection so atypical in a British scene where The Smiths were the benchmark; suddenly these acts could proudly wear their Beatles or Simon & Garfunkel influences out loud as well as ambitiously storm the pop charts and, as Mani proved whenever the Stone Roses took to the stage, they could dance.

The other thing that Mani helped revolutionize as the eighties were escorted from the stage was the return of the working class English youth to the top table. There would not have been an Oasis without The Stone Roses knocking down the doors first, stealing the mantle of credibility away from the up-hair poseurs and placing it firmly back in the hands of the natural mod hair renegades found in every pub and club up and down the country. Mani always came across like someone you knew, a lad who was well into his music that you might have bumped into giving it large smoking with his mates at the bus shelter. That was the exact same thing that Americans said in 1964 about The Beatles, that they saw them on the TV for the first time and John Lennon had a cynical, mocking look in his eye just like any number of their teenage tearaway friends. It saddens me that the pathway, based on a kind of monetary meritocracy, has been lost to the under privileged classes today. Back when The Stone Roses broke through, they could hit the mainstream and take advantage of the major label business model to realize a very lucrative career break. Nowadays, a few thousand streams means diddly-squat in financial terms compared to the earnings a few thousand record sales would have yielded. This is why the working class young bands breaking through feel like a dying breed, leading to a situation where too many of the newest acts are those fortunate enough to have inherited or family financial backing, who do not seem to have the same hunger because they can afford to help themselves to a self-appointed music career. Obviously, as I try to prove every week, there is still plenty of exciting new music being created for the right reasons, but I do hate how the cards are stacked these days compared to the past.

I never got to interview Mani and the closest I came to meeting him was at Glastonbury in 1994 when I was wandering around the site and looked up to see him right in front of me heading in the opposite direction. I gave a polite nod and he smiled back because he saw I had recognized him where maybe most had not. He was attending the festival as a punter and a music fan I guess, this being the period before The Stone Roses had released their second album, which actually landed at the end of 1994. In fact, at that time the band were acquiring a legendary status partially for the wrong reasons because it looked like they had disappeared those past four years with a shed load of major label money causing people to speculate if they had any real intention of ever releasing that second album. Obviously when they finally did it had no hope of living up to the expectations foisted upon it but, listened to away from the Britpop and grunge sounds of the period, ‘The Second Coming’ is clearly a record with a lot going for it. They then spent another 18 months slowly disintegrating as a functioning unit before calling it quits after a lukewarm Reading Festival appearance in 1996. By then Mani and Ian Brown were the only original members left but the positive gained from the split was its opening up the opportunity for Mani to join, and enjoy a brilliant long term stint in another legendary band, Primal Scream. He always remained loyal to his mates though and, interviewed by the NME after the Roses called it a day in 1996, he said “we wanna leave two classic LP’s untainted. We wouldn’t wanna do anything which would detract from them” before adding about his impending recruitment by Primal Scream, “I’ll have to get me leather keks and winkos out, won’t I?”

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Fresh Juice

Fresh Juice 1st December 2025

Lucy Kitchen – The Boatman

The personal circumstances surrounding folk artist Lucy Kitchen’s creation of her forthcoming album were devastating. The loss of her husband to cancer three years ago hangs heavy over brand new ‘In The Low Light’ record, set for a February release and including this heartfelt ode to the departed; it is an impossibly moving song that beautifully evokes the heartache and dark desire to cross over to the other side and reunite with those passed on. But this is also a piece that, amidst the silent sorrow, also connects with the human spirit and survivors instinct to carry life on with dignity and hope. The structure of the music here sounds more like a spiritual folk hymn, especially with that gorgeous underlay of church organ sound rising at the songs end. We have all been knocked about by life’s unfair hand at some point, but while there are artists like Lucy Kitchen creating music to help us through the struggle, there will always be a ray of light breaking through eventually.

Tiwayo – I’ve Got To Travel Alone

There is plenty to like about this one, a killer tune with some seriously sharp edged playing and a rough, lived in soul voice taking it all out for delivery. There are, it seems, already a good number of reasons to anticipate 2026 with enthusiasm. This one is from Tiwayo’s latest album called ‘Outsider’ which is set for release early next year on the Record Kicks label. It is produced by the Black Pumas Adrian Quesada and promises to push this Paris born singer firmly into the spotlight. That the video presented here has a shot in it showing a picture of Prince on the wall is an accurate enough indicator of the kind of talent we are witnessing here. And I come back to that voice again, even some of the all time greats in soul, blues and gospel did not come as close as this to a sound so authentically aged and fresh, no wonder Tiwayo was once bestowed with the nickname “The Young Old”.

Amelia Coburn – Something Wild

Amelia sounds like she has really refined her individualistic gothic fairy tale niche with the release of this latest song. Not only does it carry forward the very promising sounds heard on her Bill Ryder-Jones produced 2024 debut album ‘Between The Moon And The Milkman’ but also, with such an earworm worthy chorus line, she is proving to be a tidy songwriter as well. Endorsements by the likes of Paul Weller will not have done her confidence any harm either, in fact she duets with him on a track from his latest ‘Find El Dorado’ record, but this one is all about Amelia’s own sound and vision. And it is a pretty sympathetic video as well, in which her search for the wildness inside is illustrated with some graphic destruction of civilised engagement. I mean, everyone has, at some point, just wanted to shove their fist into a garishly decorated cake and then smash up some ceramics haven’t they?

Fuzzy Lights – Greenteeth

Moving ever deeper into the quagmire of folk-horror and fuzz drenched freakout friendly sounds, we find Fuzzy Lights getting their ankles wet exploring the mysteries of ‘Fen Creatures’ on their latest psych fuelled album. They are a Cambridge based group of space cadets who have been building a rich back catalogue since 2008 and have, whilst tackling themes of folklore and humanities fractured relationship with the environment, nurtured a love of acid-folk textures into explorative, progressive even, music that does not respect boundaries of genre, tone or tempo. Fuzzy Lights tackle music as an expression and they intentionally deploy a razor sharp edge to their sound that can cause injury to those not paying attention; this is music that demands and rewards immersion.

Anna von Hausswolff (ft. Iggy Pop) – The Whole Woman

I have unashamedly steered us down a very heavy set gothic folk-noir avenue this week and may just have hit the motherlode with this stop on the detour. It is a track from Anna’s new album ‘Iconoclasts’ and as if her pure, caressing vocal were not a winning enough ingredient atop the sweeping cinematic grandeur of the song, when that bottomless Iggy croon joins in the game is well and truly up. It is the sixth album release from the acclaimed organist who has been plotting an increasingly eccentric and deliberate pathway through choppy prog waters for a number of years now, making music that is simultaneously foreboding and enchanting. This new collection though, is being tipped with good reason by many to be her best thus far.

The Melancholy Kings – Bitcoin Elegy

And so we bring things to a close with the jingle-jangle crash and bang of The Melancholy Kings, proudly nailing their vintage college-rock colours to the mast. Of all the song writing forms in the pop world, this is the one that still retains the look of a design classic; key scaling electric guitars, meaty drums, deep bass, intros, verses, choruses, a middle eight and then a mighty thud to end it on a high. Simple but still oh so effective. Just right too for a song bemoaning the state of personal relationships in the digital age. The bands first album in six years, ‘Her Favourite Disguise’, is out now on The Magic Door Record Label.

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