I know I’m supposed to like this. But I find it dull. No soul, no excitement. It’s self-indulgent with lyrics that pass right over me. It’s the sound of eating offal.

⭐ ⭐

Too much noise for me this morning.

⭐ ⭐

Strong US Ozrics vibes here. It sounds like it could have been recorded back in 1969.

⭐ ⭐ ⭐

Probably the last great R.E.M album before the great pop sell out. You snob! Whatever. R.E.M were always at their best as an underground band. Green sees them knocking on the door and being invited into the mainstream. As ever, I’ve no idea what the subject matter is all about. It sounds like the usual R.E.M mismatch between the personal and the political. Musically, Green sounds like a great band, all knowing their parts, and contributing to the greater good. It’s easy to dislike them now. But at the time, they made a statement and were worthy of a listen.

⭐ ⭐ ⭐ ⭐

To The Odeon in Sunny Colch! …on Monday afternoon. The Morning Star Elvis Correspondent recommended that you view the new Baz Luhrmann Elvis film on the biggest FUCK OFF screen that you can. Which for me, meant Screen 2 at The Odeon on Monday lunchtime.

It helped that Mondays at The Odeon is the cheap as chips £8 price for a flick - which seems about right in my distorted Cost of Living parallel economic Universe.

We sat down in a near empty cinema and: ARSE - I’ve only gone and forgotten my bloody specs. No worries. We were on the fourth row. It’s got be better than trying to screen it off a dodgy internet connection on my iPhone in bed.

Our company for the early afternoon screening was half a dozen or so coffin dodgers, probably back from picking up their pension, if that is still a thing. Don’t believe the hype that Elvis is COOL. He also still has a strong fanbase amongst the blue rinse brigade.

The last time we were at The Odeon was to watch… Baz Luhrmann Elvis biopic. Spot the theme here? The new Elvis film is basically a collection of live footage and interviews covering the Hotel years from ‘69 to ‘77. It has a similar back story to Get Back, in that Luhrmann claims to have come across hours of previously unseen footage.

And blimey - halfway into the very enjoyable film and here we have Elvis performing Get Back live on stage. His cover of Something is one of my fave versions of a Beatles song. I had no idea that he had attempted the more upbeat Get Back. He just about passed the audition, natch.

The new film isn’t a great deal different from That’s The Way It Is - a backstage look at the Elvis Hotel years. He holds your attention on the stage, albeit morphing a little into some David Brent style dancing throughout. If in doubt, make it up. You’re still the bloody King, etc.

The band are tight as fuck. They were all seasoned musicians and knew how to serve their master well. Ronnie Tutt on drums in particular holds the stage. It’s no coincidence that Elvis always positioned him almost centre stage, staying in sight so that the two could communicate as Elvis dictated the pace of each show.

The editing by Luhrmann is a little sporadic. It interchanges throughout the years, with no real direction, chronological order, or even explanation. But you don’t really need that. You just need to sit down in front of your FUCK OFF screen and enjoy the show.

The years speed by, albeit in a non-linear style, and soon you’re staring at a grossly overweight fella backed by a band whose own waistlines and hair length have grown throughout what seemed like a never ending Las Vegas residency.

This story was only going to have one ending. Luhrmann doesn’t do the dirty on Colonel Parker in the same way that he did in the first film. Tom Hanks is brilliant in that role, btw. Instead the live Elvis film focusses on the music and the performance.

He’s still got it, even on a Monday lunchtime with some coffin dodgers in Sunny Colch.

I won’t have anything bad said against Brothers in Arms. It’s uncool as fuck, and that is the very reason why I love it so much. Back in ‘85 I was hopping back and forth between The Meteors and Brothers in Arms. I saw no conflict then, and I still continue to enjoy my genre bed hopping these days. It’s just an uplifting, feel good rock ‘n’ roll album. Walk of Life in particular always has been bopping around the kitchen. The main subject matter gets a little grim, but it’s never a BUMMER of an album. Outstanding. Now eat shit and die if you disagree. So there.

⭐ ⭐ ⭐ ⭐ ⭐

aka Low 2. It’s the layers on The Idiot that makes this album so special. Some songs almost have two separate narratives taking place, but somehow still manage to stay on track. The China Girl original adds a little more malice than Bowie’s cover. But ultimately it’s Bowie who shines through on The Idiot. He’s across every track, bringing the best out of Iggy. A dirty, messy album. But much needed.

⭐ ⭐ ⭐ ⭐

Bob Dylan’s Infidels. Originally released in 1983, first came to my attention in 1983, finally bought a copy in 2026. I am nothing if behind the curve. My introduction to this most un-Dylan of Dylan albums came first through my obsession with hiring CD’s (ha!) from the local village library, and then buying bulk TDK D90’s to record them. Somehow the cassette copy and the memory of the album was lost. And then last month, following the passing of Sly Dunbar, I heard Jokerman once again as Robert Elms played it. Blimey. I had no idea that Sly and Robbie were involved with Infidels. A quick spin and reminder on Spotify, and yep, I’ll have a cheapo CD copy of that please. Dylan is sometimes at his best when he is most un-Dylan.

Did me nut in. Bailed after the first track.

⭐

Here’s a half decent find for early 2026: the debut release by Momooko Gill. It came via Gilles Petereson, natch. It’s very much of its time, coming out of the Total Refreshment Centre. What I love about the growing N Ldn jazz scene is the inclusivity. Powerful females, cool as fuck, blowing away all the old hairy bollocks about what jazz should represent. It’s not strictly jazz, either. It’s without a doubt a sound that is very much 2026, and one that could only come out of N Ldn right now. Superb.