We finally finished off the 1,001 Album list today. Every day for the past 1,001 days, R and I have both been served up the same highly recommended album to listen to.

Actually - that’s not quite true. We finished off the 1,001 Albums list a couple of months ago. The site editor added in a few extra albums beyond the book of the same name. But now that well has run dry.

Once again - sorta…

There’s just under 500 more albums, all recommended by subscribers to the list to plough through. And so we go again.

The quality control seems a little uncertain if the Album of the Day - Metric and Fantasies - is anything to go by. That’s what happens when you out source the list to the great unwashed.

I looked elsewhere for my morning musical blast, once Metric had done with their Garbage imitation riffs. Hang on! I know - I’ve not explored Disc 4 and 5 of the Cafe Bleu epic box set yet.

It was held back at first from the streaming platforms, but is now available. It’s basically some early Style Council BBC sessions, plus some early live recordings.

It’s the early BBC sessions that hold the most promise. You can hear the songs developing in real time, with the odd extra bongo interlude here and there, as Paul and Mick find their feet. The trumpet break in Paris Match doesn’t quite work out…

Cafe Bleu always reminds me of spring. Maybe the timing of the re-release was deliberate? The overall theme is one of optimism and an extra bounce in your step. Even the synth heavy Headstart for Happiness retains that youthful joy.

1,001 albums?

How about 1,006?

Strong Garbage vibes here. No bad thing. It’s not going to win any Ivor Novello awards for songwriting. But the sweeping chord changes built into the melodies are pleasing. It probably plays well in the gym.

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Some of the instrumentals work best here. That’s not to say that the vocals aren’t sweet. This is an incredibly warm album. It’s full of optimism, but almost downplayed with the gentle approach to creating something special. You can hear almost track by track where Weller got the whole Wild Wood vibe from.

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No pop, no style. That’s me. And this was just too poppy for my tastes. I’m sure it’s very accomplished. The production doesn’t hold back when throwing everything into the mix. But I’m afraid it’s not for me.

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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.

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Too much noise for me this morning.

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

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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.

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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.

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