In the year 2000, the internet was fledgling and untrustworthy and magazines were still a thing. While wanting to attract the vast untapped market of the non-sex obsessed laid back single male twenty something professional demographic, some magazine publishers chucked buckets of cash at producing magazines aimed at them.
Yes, FHM was a thing but that was more laddish than most men felt comfortable with reading in public, with covers often boardering on the pornographic. Esquire was often too sophisticated – aimed at those confident in their presense and appearance. Empire was just about films and GQ had that metrosexual vibe that just didnt appeal to a lot of heteronormative types. Later bridged the gap – stylish, hip, with a cheeky undertone of implied sauce. It was the reading matter for gents who just wanted to stay in touch with what was cool in the world and how to portray that coolness without looking like a catalogue model or an overtly sculpted waxwork with clearly coded sexuality markers.
I loved Later. It appealed to me. I still have copies of every edition of the magazine mouldering in my loft along. It spoke to men like me and offered a guiding hand in the puzzling world of business, style and culture. It’s sad that the publication ended and more sad that nothing really replaced it. Sadly, it seems, people don’t read magazines the way they did preferring social media, websites, podcasts and Substacks instead
Perhaps the most prized possession from this time of my life along with the magazines themselves, are the free CDs that came with the publications. Two Serve Chilled volumes were released over the lifetime of the magazine, with two Later Lounge volumes.
The CDs were compilations of cool, hip music from across the ages, that would delight and provide the owner with that sense of “Hey I listen to cool hip quality music”. It was the kind of music you could pop on at a dinner party or perhaps after the night out at the club to impress that young lady you had brought back to the pad – stylishly decorated of course thanks to the guidance from the magazine .
Later Lounge Volume 1 latched onto that late nineties/early noughties 60’s revival vibe heralded by the likes of Oceans Eleven, Austin Powers and the remastering of old Michael Caine films. Not a great hit with me, I was far too dirty old goth by this time, but there was some Herbie Hancock, who’s music had already passed my ears on yet another Compilation cassete/CD conversion, the erroneously named Seventies Shit.
If ever I wanted to out hipster Hipster Nick, I’d whack this on, put on a cravat and moan about “bloody beatniks” and now you too can pretend to be a lounge lizard by playing the entire playlist via the magic of Youtube below 🙂
Later: The Later Lounge Volume 2 [#661]
Later Lounge Volume 2 came some months later. I think possibly after Serve Chilled but definately after Later Lounge 1 and Serve Chilled 2. I think by this point Later, as a magazine, had become a little flaky. Not as stylish as it once was, perhaps the chaps in the office had been told there and then that the magazine’s days were numbered. Either way, I felt then that there wasn’t as much thought put into this particular compilation. However, with more mature ears, I can now appreciate fully what sort of vibe they were trying to create.
If you fancied pretending to be some 1970’s caberet club owner with your over priced cigars, chest hair and ladykiller white shoes – you know the kind of way you wouldn’t have dressed to impress in the year 2000 – driving through the rain soaked streets of a cosmopolitan and exotic city like say….Bradford (Detroit being too far away)…in your vinyl roof Ford Cortina Mk1 (1973 Oldsmobiles are too big for UK roads)….then this is the compilation for you.
Again, I’ve recreated it on Youtube because I love doing this kind of thing. I should really do a podcast but you know…it’s no good if it’s just me talking….
Later: Serve Chilled Volume 1 [#662]
Serve Chilled Volume 1 became the soundtrack to the early noughties for me. I had multiple copies made to play on my car stereo to accompany long car journeys to and from Yorkshire and I also had it ripped to MP3 when I got my Creative Jukebox 2. I cannot politely express how much I loved this compilation and still do.
A soundtrack to every summer trip to Wales, Brighton, Yorkshire and beyond with Mrs Gnomepants v1.0 who, I hope, reads this and remembers the music as well as I do.
Finally the December 2000 edition carried Volume 2 of the Serve Chilled compilations. Blissful audio earwashes to carry away the winter chills and return memories of warm summers in Ibiza. However I wasn’t an Ibiza kind of youth prefering more sedate trips to Wales over roudy lads weeks away getting STDs, drunk and regrettable tattoos so this just makes me think of driving through Snowdonia.
Track #
Track Name
Artist
1
Sunshine of Your Love (Bigga Batucada Mix)
Rockers Hifi Meet Ella Fitzgerald
2
Fusions Alright
Royksopp
3
Recipe fro the Perfect Afro
Feature Cast
4
Harry the Guitar
Dr Rubber Funk
5
Happiness (Ashley Beedles West Coast Beach Bossa Vocal Mix)
In 1994, I went to the Liverpool ABC cinema in Lime Street to kill a couple of hours I had spare. As I took my seat in the empty theatre, little did I know that I was about to be subjected to an amazing rollercoaster of a film. Pulp Fiction hit me like a train. To me, this was a new style of film, a new director to follow and a soundtrack that would fill that period of my life with music. So when Tarantino’s followup was the 1997 film, Jackie Brown, I was hoping that it too would renew the tarnished soundscape of my life.
By this time I was working long hours in Bootle so trips to the cinema seemed like a luxury reserved for films that had to be seen on the big screen like Star Wars. All other films, especially those which we were uncertain about, were relegated to the cheaper hire from the video shop. Despite being a video rental, Jackie Brown didn’t disappoint.
Quite often with music, it’s easy to hope that the blow away of the previous success will continue to fill one’s sails with uplifting wind and it’s sometimes the case that we disregard those works that follow as “not as good as the previous”. Take Air’s Moon Safari or Portishead’s Dummy for example, both are much more successful than their later releases because perhaps, they were seen as groundbreaking.  I think the same is true of film and that a person’s personal perception and appreciation will change depending on their tastes.
That said, the soundtrack to Jackie Brown is as vastly different to Pulp Fiction as a cake is to bread but still holds its own. A lot more soul and country compared to Pulp Fiction‘s surf guitar filled selection but still a really good selection of tracks and, like the film, at a totally different pace.
Insane Times: 25 Psychedelic Artyfacts from the EMI Vaults is a compilation album of really odd music. I’d say completely odd but the inclusion of Bonzo Dog, Yardbirds and Kevin Ayres kind of bring the oddness down a bit. It is though, very much the Psychadelic Rock version of the folk anthology Gather in the Mushrooms.Â
Amongst the bands appearing in this compilation are Mandrake Paddle Steamer, Simon Dupree & the Big Sound, The Lemon Tree and The Orange Bicycle with some oddly familiar yet new to many songs. I saw this compilation as a gateway to new-to-me and interesting acts from the psychedelic era, about the time when the Beatles were farting about with Sergeant Pepper and lots of drugs and indeed, there are subtle beginnings of some huge prog acts within this album and bands in which young prog stars cut their teeth.
The soundtrack for the 1993 film In the Name of the Father about the Guildford pub bombings of 1974.
While the film is an often harrowing study on injustice, political corruption and false convictions, the soundtrack is nothing that special. Bono, Sinead O Connor, Gavin Friday, The Kinks and Thin Lizzy (naturally with their Whisky in the Jar) give the whole set the geographical soundscape for the period piece, Bono and O’ Connor  for the Irish connection and The Kinks and Thin Lizzy to set the time.
I think around that time in the nineties there was a strong swell in Irish pop and rock surfing on the crest of which was Bono on his U2 surfboard and it seemed like any TV show or film with a vague Irish link would have featured either a song by U2 or Sinead O’ Connor.
Mrs Gnomepants v1.0 was very fond of the film and requested that I obtain the soundtrack during the Great Internet  Free For All of the early to mid noughties.
Ghost Box. The stable from where delights such as Belbury Poly, Broadcast and Focus Group hail. In a Moment…Ghost Box is a compilation of some of the most awesome hauntological music you’ll ever hear. If you’re looking to relive those summer holidays in Scarfolk or those school gatherings around the TV in a cabinet on stilted wheels, then this is what you want to listen to.
Invoking memories of a prenuclear holocaust society, crap video graphics and lots of nylon sweaters, the album is a showcase for many different bands that come under the Ghost Box label’s protective cloak. An excellent starting place for people wanting to explore music of its type.
This album is definitely a gateway album. Though probably to another dimension rather than hard drugs. I suppose that depends on your outlook on life. It is also one of the main reasons why there was a hiatus of the Music Project last year. Having obtained the compilation, I then discovered I had actually bought more albums since starting the project and they had been omitted because they didn’t show on my list. Frustrated by not having a completely alphabetical list of albums, I’ve now decided it doesn’t really matter and only a few OCD readers will be upset by the out of sequence post that will follow this but I’m sure you’ll forgive me when you hear how awesome From an Ancient Star is.
Back in the eighties and nineties, when he wasn’t that wrinkly dude off the talentless shows on a Saturday night, Pete Waterman was a successful record producer. Polluting the airwaves with hideous plastic pop.
Of course, growing up in the eighties meant that hideous plastic pop was de rigour and many of the songs played at family occasions and parties came from the Hit Factory stable. It is difficult to not listen to examples of this music without being transported back in time thirty years to a wedding or school disco, where teenage hormones raged and lessons in social interaction began.
Hit Factory features artists such as Kylie Minogue, Jason Donovan, Mel & Kim, Steps and 2Unlimited. It is truely dreadful. And yet, I believe that everyone’s record collection should contain at least one example of youthfully contemporaneous music. That way our memories persist and from our memories, we learn and develop. Â Indeed, many of the artists featured have either returned to obscurity or seen sense and improved without the Stock Aitkin Waterman interference in their art.
A bumper three albums on a Friday with a most peculiar acquisition, Heavenly Voices.
Much like how Looking for Europe does for the Neofolk genre, Heavenly Voices does for the dreampop/ethereal wave genre by way of the artists on the Hyperium record label. Here we have, in effect, three distinctly glorious compilation albums featuring a whole range of talent from artists like Eden’s Sean Bowley and his side project Sunwheel to fully functioning bands like Bel Canto,  Black Tape for a Blue Girl and Miranda Sex Garden.
[#578]Â Part One is possibly the most accessible of the three. A little catawauling here and there but a nice build up towards (and what was my introduction to) Ordo Equituum Solis‘ Â Playing with the Fire.
Dreamily swimming onwards through Die Form’s Cantique and culminating in Winter Moon Descending by Annabel’s Garden
Finally Part 3 [#580] copies of which are currently changing hands for around £300. Featuring a much more accessible approach to the genre with more familiar artists like Miranda Sex Garden and Bel Canto. Again, this album introduced me to many artists and it is easy to see why people prize it so highly. Emerging from Part 2’s forest of floaty vaginas into a dystopian landscape of industry like a stumbling ninny, the listener finds Part 3 rips up the leafy glades of Part 2 and drills deep concrete foundations of industrial darkwave right into your mind.
Legend has it that there is actually a part four and a part five compilation. Rumours, whispers abound. Â Sadly the Hyperium label closed shortly after the death of its founder in 2002, but many of the acts continue on in the worlds of Darkwave and etheralwave.
Whether it’s Garth and Wayne singing Bohemian Rhapsody in a car, Robert de Niro in Jackie Brown rocking away to a strip tease to the Supreme’s Baby Love or fish faced Julia Roberts poncing down a New York high street to Roy Orbison’s Pretty Woman, this compilation has a selection of songs that everyone born in the last 50 years should be familiar with somehow or other.
Originally this was a two volume compilation (still available on Amazon)but over time volume 1 has been lost. Probably for the best as the “greatest” singles on the second volume were all a little too contemporaneous compared to those presented on volume 1. There was a spate of similar compilations after the millennium, Greatest This, Greatest That and who could forget the Absolute All Time Best of Super-dooper Mega Party Funtime Hoo-Har Music Ever Volume 3, all vying for the  hard earned cash of the gullible.  Of course, as with all compilations, there are some tracks I feel shouldn’t be there, and others that are conspicuous by their absence. Never the less, Greatest No.1 Singles is a nice “leave it on in the background while you do the cleaning” album.
A compilation of psychedelic music covering 1966 to 1970.
This is a relatively new addition to my music library and as a result I’m yet to form a reliable opinion on the songs therein. However, during the cursory listen given for the purpose of this entry I can reveal there are some very strange additions. It’s no wonder that some of the over 60s are so weird.
Songs with titles such as Baked Jam Roll in Your Eye by Timebox, Vacuum Cleaner by Tintern Abbey and In My Magic Garden by Tinkerbell’s Fairydust and bands with far out names like Virgin Sleep and The Crocheted Doughnut Ring all come together for a four hour trip through the weirder parts of the genre. Its easy to see how many of these bands influenced each other and how even the lesser known bands had some influence on those who would become superstars.
What else is interesting is how the bands all seem to have formed from various liasions and chance meetings. Like with the prog and Canterbury scenes, band members would swap bands, ideas, songs and even drugs. Some would go on to do great things, others would end their days in a bar in Liverpool bemoaning the fact that they “could have been famous man”. As an observer, I often think about how modern manufactured bands don’t seem to be interchangable. Ok you sometimes get “projects” and “collaborations” but you don’t see the likes of say, Â some guy out of 1D joining up with someone out of Steps and someone out of Back Street Boys to form a mega supergroup.
Possibly one of the best, well thought out and inventive game franchises began back in the late nineties with the release of Grand Theft Auto a game noted, not just for it’s violence and adult themes, for its soundtrack.
I spent many late evenings playing the game driving round the fictional cities of San Andreas, Liberty and Vice Cities, with the soundtrack blaring out to the annoyance of any neighbours. I even popped the CD from my Playstation into my CD player and ripped the soundtrack to cassette to listen to while on the bus or on foot. A cassette that joined me later in my car. A cassette I regret making because, as we all know, home taping killed music (and computer games).
Indeed, when I was able to do the same to the soundtrack of the less than successful London themed spin-off, I further damaged the whole industry which, as we now know, is worthless.
While the original game’s soundtrack was inventive with a variety of music genres parodied by the game’s designers with original songs by fictional bands such as Slumpussy’s Gangster Friday and The Ballad of Chapped Lips Calhoon by Sideways Hank O Malley and Alabama Bible Boys , the London spin-off existed as a blend of 60’s pastiches without the same wicked streak of humour. As a result I felt a little let down by the quality and lack of attention to detail that went into the spin-off game.
The London spin-off was to be a harbinger of things to come, the soundtracks for sequels to the game, like San Andrea, GTA IV and V all relied heavily on existing real music by real bands. The humorous sly digs at the music industry lacking saved only by the sly digs at the radio advertising industry.
Another gothic compilation. This time with a sleezy kink feel to the songs. Or so it’s suggested by the albums title. I’ve been more aroused sat at the back of the 81 bus than the music in this compilation.
That aside, it’s not a bad compilation. Lots of old and new favourites turn up to the mix including Mephisto Waltz, Nico, The Mission and Bauhaus. There are also some good covers too, Brix Smith does a version of Bowie’sSpace Oddity, Ghost Dance do a version of the Yardbird’s Heart Full of Soul, Bauhaus’ Bela Lugosi’s Dead is given the Electric Hellfire Club treatment and Patti Smith Group’s Because the Night is reimagined by Beki Bondage.
Some songs in the compilation I can do without but it’s not something I could delete at this moment in time.
This is an unusual compilation, and it is one that guided my ears in the direction I took when exploring the genre. It’s an unofficial compilation and, like all good music, not available in the shops. More of a mix tape someone put out onto the wibbly wobbly web back in the nineties.
The first track is Hoquetus I-VII by an unknown composer and by the third track, a Saltarello  also by an unknown composer, it starts to become clear that the compiler is trying to take the listener through their interpretation of goth music through the ages. Soon we hear Minstrel Hall by Blackmore’s Night. Not exactly goth but dabbling with medievalism, nicely leading us into track two, 18th Century Gypsy Music by Bubak and Hungaricus. Layers of folk influences building up. By the time we reach midway point, we are already being tricked into believing that Ataraxia’s Canzona is a faithful reproduction of a old classical piece.
Of course it’s not. But by this time you don’t care. Further tracks of the acoustic, goth, medieval theme float past including Eld’s interpretation of Death in June’s Death of the West, songs by Ordo Equitum Solis and Eden  also don’t seem out of place. The cherry on the top being Bauhaus‘ King Volcano.Â
I’m still fond of this compilation, even though, in all honesty, I am missing a number of tracks from  the original compilation. Moreover, this album also saw me eager to discover more about bands like Ordo Equitum Solis, Blackmore’s Night  and Eden. Bands I would never have heard of if it had not been for illegal downloads of music from unregulated sources.
Of course, like home taping before it, downloading music illegally was the death of music and we know today how empty our lives have become because  music was killed.
Another tribute compilation album featuring artists nobody has heard of covering a band people have heard of.
Today, Goth Electro bands mostly murder 12 classic Depeche Mode songs but surprisingly, I’m willing to reduce the sentence to manslaughter with diminished responsibility. Or maybe even just a “slap on the wrist don’t do it again” common assault charge.
Because on about fifth listen, some of the tracks actually work. It’s that age old thing of music suiting the environment and situation. Here I am, listening to the album in bed, late, alone at night while Mrs Gnomepants is out at an Ezio gig, and it’s kind of fitting.
Goth electro is not my favourite gothic sub-genre by any means. It’s a little too cyberpunk for me, wet streets, stupid hair styles and skin-tight plastic clothes in a post industrial futuristic vampire nightmare. This album is that, only with Depeche Mode.
Had I started this project at “G” back in 2012, at this point we would be at Gothic Compilation Vol 342. But rather than shed even more readership, I opted to weed out those compilations and reduced them to  the selection that follows.
I really like this compilation. It scares me like all good goth music should, in that I’m not entirely sure what it is I like about it all. It’s a compilation that I dip into for a bit, then quickly dip out of. The arrangement features gothic music from most of the goth subgenres including cybergoth, fluffy goth and neoclassical goth across the decades. There’s something for every wanna be goth, though there are exceptions and omissions that I, personally, would have included had I been compiling the compilation.
The compilation is massive, coming in at a whopping sixty tracks long and would make the perfect gift for any wannabe goth or moody teenager looking to discover their own identity.  Rather than list the tracks and artists featured,I’ve opted to let you discover the album yourself through the wonders of Amazon.Â
Go is one of those films that tried to capture the zeitgeist of the innovation created by Tarrantino’s Pulp Fiction. Three entwined stories about young people involved in a drugs deal.
While not a fan of the movie as such, I appreciate the stylistic  90’s celluloid portmanteau vibe, but I did like the soundtrack. Not only does Len’s enigmatic Steal My Sunshine feature, but so does Natalie Imbruglia, Fat Boy Slim’s Gangster Tripping  and Air’sTalisman (from their album Moon Safari) which, although mostly used to death in “teen” films of the time, do still get the toes-a-tapping.
The soundtrack to Malcolm Maclaren’s Christmas film for Channel 4.
Like with the Kinks’ Return to Waterloo, I have an off-air recording of the film on VHS that I treasure. I’d even go as far to say it is one of the primary reasons that I still have a VHS tape recorder tucked away in the loft. Sure there are probably versions of this on Youtube or Vimeo, but they’ll only last as long as the copyright nazis allow them to stay up.
Home video taping is killing music.
That said, I did buy this (and still have it) on CD.
The film has Maclaren poncing around London’s Oxford Street at Christmas telling tales about the dark history of the world famous street of consumerism with each of the “ghosts” played (sung) by different artists. Tom Jones pulls off a great Gordon Selfridge while the Happy Mondays manage an excellent cover of the Bee Gees’ Staying Alive. While Sinead O’Connor, Kirsty MacColl and the Pogues remind us of the festive season with their  songs with a slightly Christmassy feel.
Because of the Christmas bias, it feels odd listening to the soundtrack out of season but it’s not impossible to do so. Skipping the four Christmas centric songs still allows the listener a good twenty minutes of interesting music. Even Ponchielli’s  Dance of the Hours (performed on the CD by the Academy of St Martin’s in the Field) isn’t too festive in feeling and is a really piece of driving Classical music.
Compilations, it seems, are like buses. You wait for ages then two come along at once.
Ghosts from the Darkside III (I’ve no idea what happened to Ghosts from the Darkside I) is pretty much the same as Ghosts from the Darkside II, darkwave/goth music somewhat difficult to ingest aurally driving to and from work.
This time Tristania, Clan of Xymox and L’Âme Immortelle join the dark pageant but again, the rest of the acts I’d never heard of, nor did I find any affinity with.
Unfortunately, this eagerness to embrace the dark resulted in me getting quite a few albums and fan compilations like this and, advanced warning here, very soon we will see examples of other Gothic compilations on the music project.
A compilation of highlights of Goth, Darkwave and Dark Electro bands.
During my exploration of usenet newsgroups, specifically the goth-industrial binary group, I happened upon a whole treasure trove of gothic compilations (as you will hear about a few weeks later on in this project). In an effort to grow my “repertoire” with goth music I would download compilations as a way to find new bands.
Ghosts from the Darkside II is pretty hard going. I’d heard of a few of the bands featuring on this album through other explorations, such as Inkubus Sukkubus, Black Tape for a Blue Girl and Blutengel so it was natural for me to give it a go. However, I’d not really heard of any of the songs in the compilation either. There are quite a few German bands in this compilation so I suspect this is an album aimed at people who attend Wave Gothik Treffen.
After several listens I’m still not enamoured with the album. Perhaps it’s because I’m older now and I’ve reached “Full of Goth” or perhaps it’s because I just don’t like what I’ve heard.
This is the soundtrack to the classic 1980s blockbusting movie Ghostbusters.
As a regular downloader from the alt.binaries.sounds.mp3.soundtrack newsgroup in the late noughties, I would frequently smugly mark for download the soundtracks for movies I’d always wanted but had been unable to obtain from crappy HMV or Virgin Megastores. One such prize was todays album.
I remember my brother taking me to see Ghostbusters in the Lime Street Odeon in Liverpool. I remember queuing up (in the cold) for hours before the doors opened so that we would be some of the first in the theatre and be able to get the best seats. I remember being excited to rent the video when it became available, and I still remember the anticipation and thrill of being able to video record it off the telly when it was eventually shown over Christmas for the first time on network television.
I also remember the disappointment at being unable to find the soundtrack on CD, a dissipating disappointment when I located it on Usenet.
Classic 80s soundtrack for a classic 80s film. Not sure why they feel the need to “reboot” it.
One of the more quirky “albums” in my collection is this compilation, a collection of recordings of the same song by a variety of artists.
Ghost Riders in the Sky has been credited as one of the top 100 Western songs of all time and has been recorded by a whole host of performers since its first recording in 1948. Artists such as Elvis Presley, Johnny Cash and even death metal bands have recorded their own interpretation of the song.
This unofficial “not-available-in-the-shops” compilation was uploaded to Usenet newsgroups in the late noughties and contains versions by:
Boston Pops
Elvis Presley
Ennio Morricone
Frankie Laine
Lawrence Welk
Patrick Normand
Peggy Lee
Roy Clark
Roy Clark & Chet Atkins
Roy Rogers & Sons of the Pioneers
Shadows
Slim Whitman
Spike Jones
The Spotnicks
Tom Jones
Ventures
Wingy Manone and his Go-Group
Seventeen versions of the same song. My wife deserves a medal for helping me listen to them all.
Gather in the Mushrooms is a compilation album featuring tracks by acid folk bands from 1968-1974.
As a prog fan, it is only natural that I have a penchant for music often classed as acid folk, which, one could argue, is a shared root for the mighty tree of progressive rock in the forest of alternative adult music.
This album was kindly “donated” to me by a dear ex-work colleague with whom we share similar tastes in music and interests in media and popular culture. When I saw the artist listing I was further excited to see artists such as Sallyangie (Sally Oldfield, Mike Oldfield‘s sister, with whom he began his career), Pentangle, Magnet and Spirogyra, all of whom have connection within this music project.
Hauntology at its best, Gather in the Mushrooms provides a soundtrack for a period when Canterbury was just begining to burgeon and fills the minds eye with images of green home county villages populated with beautiful long haired tie-dye be-dressed lady hippies like in some Avengers/Hammer Horror/sci-fi TV/Film that was never made. Beautiful tracks like Sandy Denny’s pre-Fairport Milk and Honey, Trader Horne’s post-Fairport Morning Way and the largely forgotten Forest’s Graveyard not only provide a powerful aural illustration for the genre but create a fitting tribute to a time that existed for a few but was appreciated by many.
This has largely become my third most favourite compilation of the past decade.
I was never a fan of Tom Hank’s lumbering buffoon Forrest Gump. The film was a little too whimsical for my liking but I felt that the soundtrack was well researched and included a good few classic popular songs from the period of history in which the film is set.
A sampler compilation of a variety of European artists which I received for free when buying some forgettable obscure music during the end of my exploration of the European Darkfolk genre.
Nothing memorable and apart from Collection d’Arnell Andrea appearing, I’ve never heard of any of the other artists.
Picture the scene. It’s 2006. Outsider, Lordi, have won the Eurovision Song Contest. Confused and out of touch officials around Europe scratch their heads in bewilderment. How can something as noisy as Lordi’s Hard Rock Hallelujah win by a land slide? Do the public know something others don’t? What ever the reason, imitation wins hearts and minds so let’s goth up our acts for 2007.
Which is exactly what happened. Especially with Switzerland.
The United Kingdom went all cheesy sleazy and failed.
Finland tried to win again (and this was my favourite)
But when it seemed that outsiders were going to win again, Plan B was put into action and Serbia’s entry won with Molitva.
After that, I lost interest in Eurovision for a few years…..
For those not familiar with European traditions and culture, every year since 1956 European public broadcasters get together to find a song to unite Europe in culture. Â In the UK, Eurovision is seen as a bit of a joke while the rest of the European Union see take it quite seriously. As a result it is often the case that the UK’s entry gets a low score while serious music producers across Europe are able to showcase a variety of talent which will never see the light in the UK because of inherent taught resistance to euro-culture, but will proliferate across more receptive mainland Europe.
Eurovision 2006 was possibly the most enjoyable Eurovision in the past 30 years.  2006 was the year that Goth and Rock culture broke onto the Eurovision stage with such ferocity that many returning countries in 2007 tried to mimic the whole scene too.
Unusually the contest started with quite sedate, run of the mill songs like:
Sense Tu Jenny (Andorra)
Je t’adore Kate Ryan (Belgium)
Other entries were more up beat such as Tornero (Romania)
and Congratulations Silvia Night (Iceland)
But while the tweeness of Switzerland’s Six4One’s If we all give a little was trying to capture the zeitgeist of peace and love arising from the conflict plagued noughties.
The shockingly bad UK entry, Daz Simpson and Teenage Life was like Timmy Mallet or Keith Harris trying to capture the gangsta culture.
But it was the winning entry, Hard Rock Hallelujah by Lordi (Finland) that resulted in the landslide victory that Eurovision needed to bring it back to centre stage.
Later: Later Lounge & Serve Chilled 1 & 2[#660, 661, 662 & 663]
by stegzyIn the year 2000, the internet was fledgling and untrustworthy and magazines were still a thing. While wanting to attract the vast untapped market of the non-sex obsessed laid back single male twenty something professional demographic, some magazine publishers chucked buckets of cash at producing magazines aimed at them.
Yes, FHM was a thing but that was more laddish than most men felt comfortable with reading in public, with covers often boardering on the pornographic. Esquire was often too sophisticated – aimed at those confident in their presense and appearance. Empire was just about films and GQ had that metrosexual vibe that just didnt appeal to a lot of heteronormative types. Later bridged the gap – stylish, hip, with a cheeky undertone of implied sauce. It was the reading matter for gents who just wanted to stay in touch with what was cool in the world and how to portray that coolness without looking like a catalogue model or an overtly sculpted waxwork with clearly coded sexuality markers.
I loved Later. It appealed to me. I still have copies of every edition of the magazine mouldering in my loft along. It spoke to men like me and offered a guiding hand in the puzzling world of business, style and culture. It’s sad that the publication ended and more sad that nothing really replaced it. Sadly, it seems, people don’t read magazines the way they did preferring social media, websites, podcasts and Substacks instead
Perhaps the most prized possession from this time of my life along with the magazines themselves, are the free CDs that came with the publications. Two Serve Chilled volumes were released over the lifetime of the magazine, with two Later Lounge volumes.
The CDs were compilations of cool, hip music from across the ages, that would delight and provide the owner with that sense of “Hey I listen to cool hip quality music”. It was the kind of music you could pop on at a dinner party or perhaps after the night out at the club to impress that young lady you had brought back to the pad – stylishly decorated of course thanks to the guidance from the magazine .
Later: The Later Lounge Volume 1 [#660]
Later Lounge Volume 1 latched onto that late nineties/early noughties 60’s revival vibe heralded by the likes of Oceans Eleven, Austin Powers and the remastering of old Michael Caine films. Not a great hit with me, I was far too dirty old goth by this time, but there was some Herbie Hancock, who’s music had already passed my ears on yet another Compilation cassete/CD conversion, the erroneously named Seventies Shit.
If ever I wanted to out hipster Hipster Nick, I’d whack this on, put on a cravat and moan about “bloody beatniks” and now you too can pretend to be a lounge lizard by playing the entire playlist via the magic of Youtube below 🙂
Later: The Later Lounge Volume 2 [#661]
Later Lounge Volume 2 came some months later. I think possibly after Serve Chilled but definately after Later Lounge 1 and Serve Chilled 2. I think by this point Later, as a magazine, had become a little flaky. Not as stylish as it once was, perhaps the chaps in the office had been told there and then that the magazine’s days were numbered. Either way, I felt then that there wasn’t as much thought put into this particular compilation. However, with more mature ears, I can now appreciate fully what sort of vibe they were trying to create.
If you fancied pretending to be some 1970’s caberet club owner with your over priced cigars, chest hair and ladykiller white shoes – you know the kind of way you wouldn’t have dressed to impress in the year 2000 – driving through the rain soaked streets of a cosmopolitan and exotic city like say….Bradford (Detroit being too far away)…in your vinyl roof Ford Cortina Mk1 (1973 Oldsmobiles are too big for UK roads)….then this is the compilation for you.
Later: Serve Chilled Volume 1 [#662]
Serve Chilled Volume 1 became the soundtrack to the early noughties for me. I had multiple copies made to play on my car stereo to accompany long car journeys to and from Yorkshire and I also had it ripped to MP3 when I got my Creative Jukebox 2. I cannot politely express how much I loved this compilation and still do.
A soundtrack to every summer trip to Wales, Brighton, Yorkshire and beyond with Mrs Gnomepants v1.0 who, I hope, reads this and remembers the music as well as I do.
Later: Serve Chilled Volume 2 [#663]
Finally the December 2000 edition carried Volume 2 of the Serve Chilled compilations. Blissful audio earwashes to carry away the winter chills and return memories of warm summers in Ibiza. However I wasn’t an Ibiza kind of youth prefering more sedate trips to Wales over roudy lads weeks away getting STDs, drunk and regrettable tattoos so this just makes me think of driving through Snowdonia.
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1999 2000 Chill out compilations Memories Sleazecore Various Artists