A local YouTube chart: February 2014

This time last year, the Official Chart company decided not to use YouTube data when compiling the UK charts. Maybe we'd get a bit more metal if they did.

Mvula: big numbers after a big year. But not #1

I do this chart every six months. Again, there's a new leader of the pack, with big numbers. Some people are doing really well - either under their own steam, or with the help of a big marketing push, at both ends of the chart. It's fascinating stuff. Well, I think so.  

By the way, this isn't perfect - it can't be. YouTube numbers, like many Google reckonings, can wander about a bit. Not every genre - like rap battles - fits the criteria. And Ruby Turner would place impressively high if her showcase TV slots with Jools Holland were included – but these are live fan captures, not commissioned videos. 

We don't live in a perfect world. Two charts follow the break: the basic totals, and a breakdown of who's made the most progress in the past six months. Numbers were collected in the week just gone. And if I've missed you out, I'm really sorry. Yell at me in the email box at top right, or drop me a snarky comment, and I'll fix things. 

Old Punks don't die. They go big in Japan.

Start a band. You'll be amazed what happens. 70s punk veterans Neon Hearts are.

 Neon Hearts 2014 and 1977

35 years ago, Punk was front, centre and huge. Bands who couldn't play, snotty and sneering, drenched in audience gob.

Of course it was choreographed, but it was a great bandwagon for some. The Police, Squeeze, Bob Geldof and even Tom Petty used Punk well to get themselves noticed.

Down the pecking order, Punk really mattered. Local hopefuls? Dansette Damage, Suburban Studs, Spizz, the Killjoys, Dangerous Girls, the Prefects, and more. Most faded away, of course. But this was real and valid to those who were there. The recordings survive, but now they're out of time and context, and there's nothing to hook them to. 

But that lets people pin new meaning to old music. Extraordinary things can happen.

The Desolation Of Smug: The BBC in the Midlands

I love the BBC. I really do. But it’s hard sometimes. 

Gilded London palace...          Abandoned Midlands halls

I’m a big BBC fan. I see and hear inspiring stuff on the Beeb. More often than not, I give up in boredom, despair or disbelief watching and listening to anyone else. I use the BBC website every day. I respect Reithian principles. 

And I don’t side with those who want rid of the BBC; I disagree with beeb-haters. Last week, the Daily Mail cheerily relayed commercial radio's monotonously regular gripe that, as Radio 1 and 2 beats them hands down for listeners, those stations should be shut down, hobbled or sold, because... it's just not fair, and, besides, it means they're not making enough money. Hey, I thought it was all about competition, right? So, go compete, commercial radio. Get listeners, don't bitch about moving the goalposts. You could try putting more profit back into output for a start.

So I hope I’ve made this crystal clear. I believe in the Beeb, and I support them. 

But, and it’s a big but, this is an organisation that really does not make itself easy to love.

Boat To Row. They rock.

Boat, schmoat... the new video is going like a train

Boat To Row at All Tomorrow's Leaving, December 2013

Boat To Row's Lydia Glanville and Anna Louise Bennett are cheerily considering how things are over hipster coffee, while Michael King parks up and finds change for the meter. 

The hot topics are a tour, a single on vinyl and download, their own label, and a video shot for very little money. We're weighing up what they should charge for the single launch gig on February 28th, with the vinyl thrown in. It's all very impressive, garlanded with effortless, unflappable charm. 

Maybe they're horrible cynical bastards with a devilishly smooth act aimed at suckers like me.

Nah, they're lovely. They really are. 

Joan Armatrading's BIG last tour

Joan Armatrading has announced her last tour, kicking off later this year. She isn't retiring from live shows, but this is the big last tour. Big? It's huge. 

Joan is booked for over 50 UK dates so far with European and North American dates to follow. It's just her on guitar and piano. She's taking on a lot. 

I saw Joan at the old Birmingham Odeon in 1975, after she released 'Back To The Night'. She opened for A&M labelmates Supertramp - so she sang her very personal songs to progrock kiddies in greatcoats. It's all a long time ago, but I'm sure the stage was awash with unwavering, unwatchable red light. Almost certainly she had a crappy sound mix. The lot of the support act. 

I enjoyed her set. Supertramp was another matter, so I left, crossing a post-gig Joan coming out onto the street with her mates. I hollered out 'Good set, Joan!' and got a lovely smile back.

We met later when Joan was ferried around radio stations to plug albums. I don't think she enjoyed this. But I asked for another interview because, dammit, Joan's a really important artist, and this is going to be her last tour. And, hooray, she agreed. 

How to make a small fortune promoting? Start with a large one.

Promoting small-scale gigs and making money? Defining 'folk' in 2014? Tricky.

Ben Calvert is a songwriter who runs regular Sunday night gigs and a small record label under the handle of Bohemian Jukebox. We had a terrific, lengthy and detailed conversation this past week after an email exchange triggered by a post on promoters who love what they do and the music they work with. Ben pointed out that, contrary to the popular belief that music promoter equals bloodsucker, he and many others work for ridiculously silly money. 

So we met up and he showed me his books. Guess what? He really does work for a pittance. But promoting penury hasn’t slowed him down; he loves his music. Bohemian Jukebox now runs as a venue-supported freebie at the Bulls Head in Moseley, Birmingham. After well over a decade, Ben's not getting rich; he's not alone. A huge tranche of local music businesses work this way. Without this kind of gritty idealism / bloody-mindedness / music obsessions (delete as appropriate), local scenes would be a lot poorer. 

Scary financial stuff and noble principles to follow…

Looking back over 2013

Good to meet, sorry to part, look who's done great... all that 2013 stuff

Everyone's doing reviews this week. The newspapers and telly are full of epic people who did epic things. Lots of grand stuff.  

This stuff isn’t grand, but it's great. It’s about creative talent at its newest, freshest and purest. That's more important, in my view.

So, here's part 2. Part 1 is here. Some striking, amusing, enchanting, and saddening things from 2013. And some things I’d like to see, and things which will happen next year. Of course, I’ve missed things.  

If our paths have crossed this year, and I haven’t listed you, please don’t take umbrage. You can't squeeze 60+ posts into one. I want to hear about your best of 2013 too - do, please, leave comments. 

5 lessons learned this year: Musos are more interesting than Jocks...

Do it for the love of it. You won't let anyone down, even if you get let down.

As last year, here's five lessons I learned in 2013. But before I get to those, a word about this blog. 

I am really, really happy, to report that Radio To Go’s readership has grown quite nicely: from ten thousand total page views at 2011 year-end, it chalked up forty thousand total views a year later. And now, it's over one hundred and twenty seven thousand. 

That's more than trebling total views two years in a row. Thank you! Bashing out 1500 words each week is a great discipline. Recently I’ve tried out tiny one-topic midweek posts too. They are easier to spark debate with, because they are one-topic issues. 

So that's the good news. After the jump, here's five things I learned - or maybe finally admitted  to myself - in writing this blog this year.

Don't you point that thing at me, pal #4: Steve Gerrard @ Brumlive

It's not all about spraying and praying... there's detail, there's action, there's a story 

I don't write gig reviews. There are excellent West Midlands sites that do; you'll find links to several down the right of this page.

One of these sites is Brum Live, run by Steve Gerrard the long-established music photographer. Brum Live exists partly to be a platform for new photographers and writers. If that interests you, there's an email address at the bottom of this post.

Steve is a details guy. Just look at this shot. He's done tons of big names, lots of local guys, and he still prefers smaller gigs. It's all about the gig, the musicians, the crowd, the interaction... the action. All shots are reproduced here by kind permission. 

Brothers Groove

You can play 35 notes if you really want. 3 sounds just fine from over here

Brothers Groove have a lot of miles on the clock. Their music is not, by any definition, cutting edge or new: stylish blues and funk with a little bit of jazz in the mix. Hipster bands half their age might well sniff – until they see how much work the band gets.

Then again, hip or not hip is beside the point.  Lots of people try to get this stuff right in the UK; many miss the mark. Brothers Groove are doing ok: their music breathes. It has space and taste. Think Robben Ford, Crusaders, Little Feat, Steely Dan in their prime. That kind of ballpark. And...` they’re brummies. There’s a second album in the can - samples later in in this post - and a plan.