April... I've had my eye out for the full emergence of Gomez for quite some time now. They hail originally from Southport, but landed their record deal around a year ago while studying right here at Sheffield University. By their own talent and good fortune they whipped up a lot of interest, resulting in them playing a private gig at some local recording studios to a crowd of expectant A & R people, before finally signing to Hut records. Their debut single 78 Stone Wobble was released at the end of last month, and just missed the bottom of the charts at the beginning of this one. The single itself is at least a little out of the ordinary. It's chill-out music, a smooth jazz-like rhythm with smokey, sometimes muffled vocals. At normal volume it resides just above background music level, the kind you could listen to while watching a muted television, and make the program a lot more interesting. It's a definite grower. Their imminent debut album Bring It On is commanding good reviews from every quarter, so expect Gomez to make a bigger splash very soon.

Casting our eyes over the upper end of the charts we find the outrageous cover by Tin Tin Out featuring Shelley Nelson of The Sundays classic Here's Where the Story Ends. It's one of those songs that makes me wish that cover versions were exempted from the charts. I've no objection to covers that develop the original, distort it, impose on it, rip it apart at the seams even, but tired old straight runs through 'classic oldies' should be kept strictly to the local pub circuit and well out of the top ten. The problem is people think it's a new song, and the likes of Tin Tin Out are happy to sit there and take credit - so long as they're not directly asked - and reap the sales. Thet should carry a big sticker on the record sleeve: "Originally recorded by The Sundays, this being an unremarkable cover featuring inferior vocals." I know The Sundays will get money for it, but they deserve the fame aswell!

Jimmy Page & Robert Plant, formerly of rock dinosaurs Led Zeppelin in case you didn't know, return again with a new single Most High this month. But can they still cut it? Well, it's clear from the first opening guitar riffs that Jimmy Page can still conjure up the right moves, but then he's been through them all before. Sadly for the larger part of Most High the guitars relinquish the lead in favour of some cheap sounding keyboard runs, something that surely wouldn't have happened in the 'Zep - strings, vocal screams, drum solos and even the recorder: OK, but a cheesey Casio soundalike? Not a chance! And Mr Plant? He's lost none of the vocal talent, but gained nothing lyrically either. Whatever, the lowly chart place of #26 is surely beneath their station.

It's not always a completely conscious thing, but while flicking through the racks of vinyl or CDs, absorbing the radio blasts in the background or sifting through an ever growing stack of singles at home, bands are brutally assessed and grouped into divisions in my head. In the middle are the masses, a big long list of bands who make good records and are always worth a listen, but never look likely to become any more than that. They may have a few hits, but when they decide to pack it in they'll be forgotten by all except their strong fans and a few record shop owners. Below them is a heap of bands whom I know are liked, and had the chance to earn my respect in the early days perhaps, but put out too many tunes I didn't like and I won't buy their records any more. Once in a blue moon one group might redeem themselves and get promoted. Below them are a load of jokers who were never going to be any good. Much to my annoyance and dismay many of them make bucketloads of cash.
At the very top is a select group of artistes, each with a special place in my heart. They're there either because they have made what I regard as truly great records, or more crucially, I'm sure they will do given time and space. The latest to be inducted into this select club is Audioweb, propelled there by a reputation for live performance that turned out not to be fallacy and their damn cool new single, Policeman Skank (The Story of My Life). The story of singer Martin Merchant being picked up by the rozzers for little or no reason comes across on record as a neat dub/rock groove. Live, as demonstrated on the always buzzing Late Lunch show, it's boosted by their unnaturally large stage presence and the unstoppable energy they produce that fills every corner. The Freestylers remix on the b-side presents itself as a neat drawn out take on the original and the extra songs are just as groovy. I guess they have a new album coming. I for one, wait with anticipation. Oh yeh...I almost forgot - joint Single of the Month.
Why only joint? Well Garbage make their comeback this month with the new single Push It. They've done the great record thing before and can do it again. On first hearing the single is a little disappointing - the Garbage formula appears unaltered and the sound is no great departure from their earlier work, but dwelling on this we forget that at the root of things Garbage make great pop records. Push It is packed with hooks and grows in the mind with every listen. Word has it that the forthcoming LP is even better than the first. That will be no small feat!

Kicking up a minor fuss elsewhere is the return, or the homecoming as it's mostly been described, of The Jesus and Mary Chain. Now back where they began on Creation Records (which was not only the beginnings of the band but of the label too), the ensuing fuss is causing a few heads to turn. In reply to this attention comes the general murmur and talk that the comeback single is a triumphant return to form, and so much respect is due since they've been around so long and are still kicking it. The song in question is Cracking Up. It is...unexciting. It's a lo-fi minimal tune with the same attractions as all JAMC material and nothing extra this time around.
Then there's Iff..., the second off the new Bluetones album and a curiously catchy mixture of lightly bubbling melodies and guitar riffs over a chugging bassline. The Bluetones are on form, they're perhaps just not exactly the band you thought they were...


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