Oct 15

S CLUB 7 – “Don’t Stop Movin'”

Popular77 comments • 5,444 views

#896, 5th May 2001

S Club DSM The unspoken advantage of kit-built pop groups, especially ones made for kids: they’re liberated from attempts to be cool. Often they don’t make full use of this potential. Some decide they want to be cool anyway. Some don’t, but never try for anything more than slush or formula. So why is it an advantage? Because it gives groups access to a toybox of sounds and poses they can use, combine and discard, severed from fashion. Vocoders, for instance, were actually in minor vogue at this point – Daft Punk had found a way to use them sentimentally – but S Club 7’s deployment of synthesised voices is a guileless joy. “Don’t stop movin’ to the S Club beat!”

Their upbeat hits are where the point of S Club 7 comes into focus. Like “Reach”, “Don’t Stop Movin’” is bold hooks and primary colours, an instant infant disco classic that’s just the right side of the line between obvious and banal. The division of vocal labour helps the track enormously – Jo a smooth and secure contrast to the more enthusiastic, slightly rawer Bradley. It’s a fine way of making male-and-female voiced pop work when you don’t need to frame it as a duet. The rest of “Don’t Stop Movin’” mixes the classy and cheesy in similar measure – glossy string punctuation next to sharp vocoder buzz. The results are endearing, an easy high point for the band – finding a space where they can be the likeable, bouncy everybodies they are on TV.



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  1. 51

    Haha, I created a monster.

    To be fair, I was also 15/16 in 2001 so my pride/embarrassment and “tune!”/”faeces for the ears” yin and yang were at all-time extremes. If I twigged an amazing guitar solo on a relatively ordinary indie-rock hit like My Vitriol – Always Your Way, I’d replay it for days, in love. If I was enjoying, say, If Ya Wanna by S&M and the Noise Next Door are Absolute Nuggets, when I heard the lyric “Do it, do it, do it to me baby” it felt like a complete stranger walking into my house, taking a leak on my birthday cake. To paraphrase Linkin Park, every slightest sense of cheese, don’t want “One Step Closer*”, want The Edge, a rockist’s Welcome Break.

    Hence why the mid-90s were a procession of dignified “sixes” – even for Cotton Eye Joe and nearly everything post-31 August 1997 has been a “9” or a “2.” That’s puberty for you. Also, someone a few months ago mentioned a startling generation gap with pop-punk (i.e. how nearly all his friends three years younger put Blink-182 in the canon, but his own year group have almost no interest.) Green Day, the Offspring and Sum 41 have a great appeal to crude teenagers even past skate park age, and the genre is older than acid house or grunge! – but being those crucial few years older, I just couldn’t engage with S Club 7, Steps or the All*Stars. Trying to like Don’t Stop Moving felt like I was punching below my weight, retreating when I wanted to see the world, and whilst many childhood favourites I haven’t grown out of – i.e. Tintin, Sensible Soccer, shouting “Contenders, you shall go on my first whistle!” this felt a bit like asking my mum to make fish fingers, Alphabites and spaghetti hoops for tea. (I was also, for my sins, a Stella-supping, FHM***-reading bigmouth with mild Burnley hooligan tendencies, but a slightly bigger bookshelf than the average “lad.”)

    But someone a few years older than me might say similar things about 2 Unlimited, Corona and Haddaway. Then again, by the time we get to Bunnies Aloud, in real life I’ll have reached adulthood and once again my pop fundamentalism will have relaxed into “Just enjoy it and take it for what it is, don’t be a Q-worshipping prick!!!”

    I remember reading a broadsheet feature about School Disco the day Year 11 of Bentham School had their leaving do in Tristan Hey’s garage. I thought “Damn, I’ve missed out on all that carefree behind-the-bike-sheds fun as I was a pussy who left my local comp and went to this private school in the middle of nowhere with only 70 people, 65 of whom who said I was the school Boo Radley**!” But somehow, Clitheroe Grammar Sixth Form provided that anyway. Plenty more on that later.

    Talking about “getting nostalgic for other, older people’s re-appropriated stylised memories of their childhood”, it’s a little bizarre seeing 16, 17 year olds dressing like the Fresh Prince (clean, normcore, vintage sportswear look) or Kelly Kapowski (floral bustier crop tops, high jeans, see also: the video for bunny #1258) – my mind’s always rooted those shows in 8-bit, unmistakably American, LA the centre of the universe 1990-94.. though just like Phoenix Nights with Northern England in 2001/02, they provided daft, sunny, carefree optimism in a time of destructive race riots (and bad second-division grunge) :-/

    I think a way to destroy the “guilty pleasures” taste gulag from the inside would be having an “anti-cheese” night where everyone had to listen to white noise remixes of Animal Collective B-sides which had so much distortion they made your throat turn into popping candy****, and nobody was allowed in unless they had “>75% angular” haircuts.

    * The S Club Juniors one!
    ** Both the Harper Lee and Britpop one.
    *** I had both Rachel and Hannah’s posters on my wall back then. This might be another reason for not joining in the DSM love-in, out of guilt for playing the shallow, pervy, cat-calling builder.
    **** Didn’t this happen at early Jesus and Mary Chain gigs?

  2. 52
    will on 23 Oct 2015 #

    Re 48: When did the student trashy disco thing start? Didn’t G*** G******’s comeback start in the early 80s on the university circuit..?

  3. 53
    Phil on 23 Oct 2015 #

    Patrick M, you’re making me feel old and unhip, all over again. I wonder if there’s something about the particular age gap involved (viz. 25 years), or if anyone born after 1970 would baffle me in the same way if they really got going.

    Mind you, on reflection I’ve been feeling old and unhip since the autumn of 1980. We’d had punk, OK, and power pop (which never really happened), then there was that mad brief wave of bands like Neon, and then there was Magazine and Public Image Ltd, and Desperate Bicycles and Scritti Politti and the whole d-i-y scene, then there was Closer and Metal Box… and generally speaking I felt like I knew what was going on.

    Then all of a sudden I didn’t. I’m not going to slate Davy Henderson, here of all places, but it was something of a turning-point for me when a friend and I admitted to each other that we didn’t actually like the Fire Engines. And Peel, at the time, seemed to be playing little else. We still had the Fall, but it wasn’t the same.

    In retrospect that was when I started focusing on more idiosyncratic & ostentatiously grown-up bands like Sudden Sway and Wire, and on people who were basically singer-songwriters, although I would have rejected the label at the time (Ed Kuepper/Laughing Clowns, Jackie Leven/Doll by Doll, Cope/TX, Costello). 1980: the year the New Wave stopped making sense.

  4. 54
    Tommy Mack on 23 Oct 2015 #

    #51 – “Trying to like Don’t Stop Moving felt like I was punching below my weight, retreating when I wanted to see the world” – this sums up what I really disliked about student cheese: We were eighteen, bright, away from home for the first time, in bloody London no less, we could go anywhere and do anything our loan cheques would stretch to and what lots of people wanted to go to a grotty union bar and smirk over music that was being openly advertised as rubbish.*

    In terms of the actual music, plenty of the songs were bona fide classics and even the genuinely naff stuff had some enjoyable qualities (the worst problem with the real cheesy stuff is that it comes on, everyone laughs/quasi-ironically shouts ‘tune’ and then 15 seconds later realise they have to spend the next three minutes dancing to a mediocre record)

    *Mind you, for 19-year old me, ‘go anywhere and do anything’ meant spending hundreds of pounds going to mainly mediocre alt-rock gigs and hurling my slight, skinny frame into the moshpit like a kamikaze waif**. I don’t claim this as an ideal for living either! Most of us are pretty insecure and searching for identity at that stage in life and ‘angry self-destructive outsider, living my life to the total-freakin’ extreme’ is obviously as much a crutch as ‘wacky, happy, it’s all a big joke, let’s laugh at the silly cheesy music!’ and quite possibly a worse one since it entails being unhappy on principle a lot of the time. What a silly boy I was.

    **Oh and forming my second and worst band, the wackily monickered 50ft High Rock Hard Robot, a sort of junior would-be Rocket From The Crypt. Mind you, our one gig at the union packed the place out which was a nice end to the year but we’re getting ahead of ourselves…

  5. 55
    thefatgit on 23 Oct 2015 #

    I was officially too thick for Uni, so my exposure to the type of music you might call “cheese”, was in its appropriate setting: town centre nightclubs and working men’s club disco nights. I had already formed a hard shell of rockism (not that i realised at the time, but was despite this, suspicious of anything overtly conservative), despite reading the NME at the time Morley et al we’re railing against it. I did have a fondness for disco (you never got anything more leftfield than the odd electro track in town), but I drew the line at The Nolans and The Dooleys and especially Showaddywaddy (who by then, were all well on their way to seaside obscurity), which were WMC standards at those events. I had friends returning from Uni during the holidays, enthusing about such & such band or stating quite categorically that the charts were full of absolute shite, and me thinking I had broader tastes than my further educated chums.

  6. 56
    JoeWiz on 25 Oct 2015 #

    This is a pretty joyous, simple pop record.
    And you should never feel guilty about ANY musical pleasure.

  7. 57
    Chris Barratt on 25 Oct 2015 #

    S Club themselves were at the forefront of the student-targeted ‘Cheese’ thing – just five short years after they broke up to facilitate the launch of Rachel Stevens’ solo career, three of them – including primary vocalists Jo & Bradley – were touring the nations SU venues.
    At the time I was somewhat incredulous – it was another sign of the times, alas. I can’t have imagined (for instance) Five Star going down very well in the Uni’s & Poly’s had they done the same with my generation in 1992, but there you go…

  8. 58

    The problem is, I feel guilty about having the guilt itself (which led me to dismiss hundreds of bona fide classic pop records before I discovered this page at 3 am on a soggy 2012 summer night.)

    I am ashamed to think my teenage cynicism about certain cheerful, uncynical, celebratory and non-alpha male/feminine parts of the charts might have been from some kind of unconscious internalised homophobia. Even at an age when I was graffittiing “Stop the BNP” on public toilets, I said clumsy, small-minded things about gay men when I was 16 or so I deeply regret. Maybe it was OTT, inaccurate stereotyping of LGBT characters on television. Maybe it was reading the sub-Loaded fodder in the media who could only discuss a Kylie record whilst smirking through gritted Roger Daltrey teeth about the ‘pink pound.’ Maybe it was what we touched on with the Eminem threads – me being a teenager and terrified of sexual exploration of any orientation, the teenage jock bullying in PE, Asperger’s and the fear of physical contact definitely making a massive contribution – I really hated anybody physically touching me even if it was just a family member tucking my shirt in – it made me feel unclean – I’ve always been obsessed with cleanliness, if someone farts, say, on public transport, I have to be careful not to let it put me in a black mood for the entire day. We once had to stop the coach when I was 13 on a school trip to Les Miserables because I read a ‘men’s problem page’ asking “Does toothpaste give you a better orgasm?” There were just too many new sights, sounds, smells, tastes and feelings for me to take in with the adolescent world and it’s times like that it would have actually helped me to embrace the warm innocence of “Don’t Stop Movin’.”

    Thankfully my mind opened massively since those questionable days and I have a much better understanding of human relationships and desires. Any LGBT people I met at any age I was always totally fine with when speaking to them but in my younger years I was less forthcoming due to a colossal desperation for girlfriends – you know, laddish paranoia, i.e. the ridiculous idea thinking another man was good looking made me gay myself. That’s completely disappeared now, especially since I’ve discovered I’m most comfortable being anything but an alpha male… Though sadly this record slipped beyond my reach, this maturing and broadening of the mind has definitely helped me become a much better “poptimist” so onward and upward. And if anyone gives my LGBT friends any grief, even if it’s subtle UKIP nudge nudge winkness, I’ll give them a same-sex marriage: my clenched fist with their bigoted nose.

    After all “who wants to be a sad little indie noise-freak who alienates everyone?” – Damon Albarn (!) – But you get my drift.

  9. 59
    Tommy Mack on 26 Oct 2015 #

    Homophobia was rife at school in the 90s. You had your hardcore homophobes who were many and vocal (and we’re not talking knuckle dragging EDL twats either but otherwise affable lads, many of whom were and still are mates*), you had your silent majority who would nod along with the hardcore’s repellent bile and then you had those of us who you might loosely call ‘liberals’ who made a token effort to debunk some of the bigotry. But, here’s the thing, even though I hated the overt homophobia to the extent I’d invite ridicule by telling the hardcore they were talking shit, I was still happy to use Gay and Poof as go-to insults. #ladz #banter. As no-one said back then.

    Being gay at high school must have been like being a jew in Nazi Germany, living in fear and shame, constantly worrying that you were going to be found out and brutalized.

    Things seem a little better nowadays. Gay Pride is far more prevalent in the public eye and homophobia is held in the same contempt as racism, at least overtly (there is obviously still plenty of subtle homophobia – and racism in the media. As a teacher I didn’t see nearly as much bigoted behaviour as I did as a pupil (although I realise this is partly because I was a teacher and not a pupil!)

    As for pop, my teenage tastes were tied up with all manner of internalised prejudices, mainly class. I definitely see traces of misogyny and homophobia in the Cheese thing though. It’s like blokes dragging up on stag nights: femininity is something to be ridiculed and mocked. Mind you, the Cheese thing was about belittling anything that didn’t conform to the ultra-bland mores of late 90s fashion. Too camp was cheesy but then so was too macho or too slick or too anything that wasn’t tepid ahedonic wallpaper.

    *I’m glad to say they’ve grown out of it now we’re no longer in an environment where being a twat is conflated with being hard.

  10. 60

    “The ultra-bland mores of late 90s fashion” – Christ, tell me about it. I’ll leave discussing the August 1997 flux capacitor yet again till future Oasis bunnies (oh, the excitement!), but from there to 2001, the “It’s all crash bang wallop”/”You can’t tell what they’re saying”/”Is it a man or a woman?” TOTP parental cliches were eclipsed – across the generations – by “I hope they’re not manufactured”/”Does he/she write their own material?”/”Proper songs with real instruments and real emotions.”

    And that dour, one-dimensional, pipe-and-slippers ideology made people write “100 things better than UK Garage” lists of bile, whilst claiming the new I Feel Love or Good Vibrations to be, er, Embrace – All You Good Good People or Hurricane #1 – Only the Strongest will Survive.

    Much more on this much later, but this “nice one, Grandad” argument has increased in its suffocating influence through the years, and arguably peaked with the deeply unpleasant atmosphere around “no Kanye West at Glastonbury.” It’s no surprise caricatures of a “typical” member of that petition have been a dour, middle-aged Mondeo man with a parka from Liam Gallagher at his most charmless and a bowlcut like Paul Weller at his blandest.

    I don’t think my lack of love for DSM is dour rockism. I appreciate it’s trying to be the ultimate summery disco-pop song, it just appears, bizarrely, like the dadrock I’m railing against in this post – far too studied.

    It’s tricky ground, but the dismissal of US R&B/UK Garage/”can’t stand them, they used to be in the Spice Girls/Take That”, or previously Abba, Queen and Dexys as “cheese” whilst letting off dreadful Noelrock/New Acoustic Movement indie miserablism scot-free……….. is a close cousin of………. rabidly right-wing television and newspapers (and their readers/viewers) blaming economic problems on immigration or the fallacy of mass organised cartels of “benefit scrounging families with 750 kids”… when you never see, say, documentaries on Channel 5 about billionaire tax evaders or Sun articles on how the long-term sick or disabled have received appalling mistreatment from the DWP and ATOS.

  11. 61

    (And of course ’1997: the year that buggered up Britain’ can probably be tested with more flavour (or Flava) in the film of Kill Your Friends)

  12. 62
    flahr on 27 Oct 2015 #

    I read #60 very quickly and thought it was going to suggest there should be a Channel 5 documentary about Shed Seven being a bit crap.

  13. 63
    Edward Still on 27 Oct 2015 #

    As outlined previously when discussing Reach, S Club were something of a pop epiphany for me. Timing was a massive part of my continuing love for them and this is another nostalgia-laden song.

    I was doing my A-levels while this was number 1 (mercifully the last year to do straight A-levels as opposed to the poor suckers in the lower 6th – Guinea Pigs for the A2 / AS experiment), and it was a time of unguarded optimism for me and my very closest buds, particularly with a post-college “lads” holiday on the horizon. This song perfectly summed up the mood at the time, and was subsequently enjoyed on the dancefloors of Marbella with the holidaying footballers and assorted other millionaires we would never really fit in with. You couldn’t have told us that at the time though. A fully rose-tinted 8.

  14. 64
    Tommy Mack on 28 Oct 2015 #

    #60/#61: I don’t think it’s necessarily ‘dour rockism’ to dislike DSM. I can fully appreciate why someone might hate it and I’m sure if I caught it when in the wrong mood I’d absolutely loathe it.

    I’ve always had a soft spot for SC7 probably because they hit just as I was feeling like a bit of a twat for spending the Britpop years going ‘pop is garbage, metal is nasty, dance is just turning on a computer, Ocean Colour Scene, now that’s proper music by proper musicians…’ so I was happy to say ‘you know what, these are actually really good pop songs’ (they weren’t *really* good pop songs tbh but I was a new convert I guess – actually I was returning to the pluralist fold of my youth after a couple of years in the dour rockist wilderness)

    So you can see the cheese thing as an extension of rockist prejudices ‘pop is shit’ retreating slightly into ‘pop is crap but let’s have a laugh and dance to it anyway’ OR you can see it as knee-jerk reaction against the ghastly bloat of 90s britrock: ‘when we took music seriously it lead to Hurricane #1 so let’s never take anything seriously again, wahay, it’s MC Hammer, let’s laugh at his silly trousers!’

  15. 65
    Patrick Mexico on 3 Nov 2015 #

    Bloody good points Tommy. In the no-mans-land of this confused turn of the millennium revisionism, I also recall anything vaguely “commercial dance” being viewed as anathema or “cheesy annoying scally crap.” You don’t get that every year, definitely not when the Mondays/Roses fused with rave culture and probably not now when Mr Vain and Dreamer are “golden oldies” in the eyes of the bro-house kids. But in 2001, even sampling Show Me Love or Gypsy Woman would have been cruising for a Casablancas-jacketed/Coby Dick-chained bruising. It was Disco Sucks II but via class rather than racial and sexual prejudices. Maybe it was the “townies and moshers” rivalry where faultlines were unlike now very clearly drawn, maybe the Vengaboys taking tacky Europop fun a step too far, maybe it was the death of the superclub around this time, maybe it was repetitive generic music with videos for lobotomised horny teenage boys that samples 70s soft rock yer da’ likes. (Some of this to come on Popular in 3 years’ time, unfortunately)

    I remember being amused going on holiday to Majorca in 2001 that my sister had prepared a tape called something like “Decent Dance, honest!”. The big bubblegum happy hardcore tune around the 14-15 year olds around that time round Blackburn way was something called “We are the children of the night” and to this day I find it all kinds of indie-bedwetter problematic :D

  16. 66
    Shiny Dave on 7 Nov 2015 #

    Patrick – I’ve meant to reply to this for a few days now, as there’s plenty of angles your recent comments have sparked a thought or twenty.

    I seem to recall reading a tweet this week where one of the Gallaghers – don’t know which – was interviewed in Esquire magazine and unironically suggesting young people on benefits have the latest smartphones and aren’t actually poor. So your connection between Tory tabloids and Britpop (#60) runs even closer than you think!

    As for #58 – I was an autistic teenager at this point. Background a tad different – Southern seaside resort in a constituency that was Tory even when this hit (though Labour took the seat by a nose in the delayed 2001 election and was gifted it again in 2005 when the Tory PPC got caught in a Photoshop scandal) – but yes to the sport and bullying (and this school had a borderline American obsession with sport), yes to the sensory confusion, and hell yes to that leading to an aversion to all things sexual.

    Alongside that, I was the child of a Mail-reading teacher, and between that and my academic attainment – a couple of years earlier I’d helped lead my school to a county maths quiz championship, the first time the title had ever left the East Dorset grammars (one of which was attended by Amy Studt, whom I really wish had made it into Popular!) – I absolutely fell into a very conveniently right-wing dichotomy. Hedonism felt like a thing my bullies did, therefore it must have been A Bad Thing; I couldn’t indulge in it at all in the conventional sense because of sensory issues, and I happened to do all my homework and get good grades, therefore I must be A Good Person. Glandular fever in 2000 stifled the second half of that formula, and led me towards a self-hating spiral that I haven’t escaped left and likely never will, but even as late as this, I vividly recall a PSHE lesson – probably almost exactly at this point – in which we did a mock election creating our own parties, and (along with a team that included the student who’d go on to be the year group’s top performer at GCSE) I created the UKIP-esque Meridian Party, its authoritarianism cloaked in Mail patriotism but inspired fundamentally by simple vengeance; make life difficult for those who have wronged me for doing the alleged right thing. (I presume, but do not exactly recall, that National Service was part of the manifesto.)

    How does this relate to “Don’t Stop Movin'” then? Because it was in the build-up to its release that one of its members was charged with cannabis possession, and I vividly recall turning sharply against the band on that. They were lawbreakers! They were a bad example to children! I was 14 going on 44.

    It’d be years before I gave the song a fair shake – I’d swing right round the other way politically before long, but that’s a story for a 2003 bunny, and that move was accompanied by a move towards some combination of second-generation dour rockism and sensory comfort blanketing which I will likely build on in other bunnies.

    Heard today, it’s nothing more and nothing less than a quality kid-friendly take on the turn-of-the-millennium disco revival, and I think I’d give it a 7.

  17. 67
    Tommy Mack on 10 Nov 2015 #

    #65/66 – meant to reply ages ago! Townies vs. Moshers was a huge thing in school and as far as the Townies were concerned, anyone with hair longer than a crew cut was a mosher. I hated the townies because they were pricks, to put it simply. I disdained their dance music because I saw it as childish shit enjoyed by thickos: “I used to like that stuff when I was a boy of twelve, now I’m a proper grown up man of fourteen, I listen to proper music like Weller!” would have been my rationale. So it was class prejudice but it was class prejudice based on people who were generally a pain in the arse on a day to day basis and who acted ‘immature’ which is surely the worst thing you can be in a teenager’s eyes. I was a right-on little fucker and I always hated the overt “ew, poor people” class-prejudice of some of my middle-class mates. I’d had a couple of mates from the local council estate at primary school but we drifted apart at high school as class differences, including music, became more prevalent with age.

    I didn’t much like the moshers either. If I’m honest, I was a bit scared of them, their weird Gen-X humour and their noisy music. I remember feeling physically sick the first time I listened to Nirvana – Teen Spirit, natch – the anguish of Kurt Cobain’s voice and the queasy churn of his guitar FX were repellent to me back then. I used to go into Our Price and look at Guns&Roses and Iron Maiden CD cases with a sort of appalled fascination, imagining the terrifying heaviness of the music, given the artwork.

    From the age of about 13 to 15, I was a fairly prissy little kid who saw playing an instrument as a craft, a way to make proper, intelligent music. Basically I liked The Beatles and people who reminded me of The Beatles. I’m pretty glad it didn’t last that long. As a little kid I’d had very eclectic taste, absorbing anything I came across (though not ‘nasty’ stuff). It took a mate getting into punk and persuading me that the Pistols were brilliant, not just horrid to get me into heavy guitars. Similarly, it was another mate getting into the gateway bloke-dance of The Prodigy and the Chems that opened me up to dance. With pop, I think I just came round to it, hearing stuff on the radio and realising some of it was actually good.

    So, there you have it, I was a bit of a bell-end at school but I had my reasons. As I’ve mentioned before, I’ve always quite liked S Club 7 since they were some of the first “cheesy” pop that I heard and thought, ‘you know what, this is actually pretty good.’

    I still didn’t want to dance round to it in a grotty student disco night after night after night though!

  18. 68

    Looking outside, UKIP might be a bit worried about those gay floods ;)

  19. 69

    It’s been a month now. Is Tom okay? I’m not greatly worried about new Popular updates, as he always makes a comeback when you least expect it (remember the Great Mr Blobby Panic of 2012), but as I’m a natural worrier, someone please just tell me he’s well, and has a roof over his head*. Thanks.

    * Something I have my fingers crossed for with thought to other members of this blog.. :-/

  20. 70
    Lazarus on 20 Nov 2015 #

    We have these fallow times from time to time, I log in once or twice a day to see if there’s been any new updates – and it helps to have Top of the Pops repeats repeats to keep the comments crew occupied, although I don’t think there’s been one this week? Haven’t seen one on iPlayer anyway.

  21. 71
    Mark G on 21 Nov 2015 #

    There was one this week, just seen it and am formulating my posting. Fairly decent, contentwise..

  22. 72
    Lazarus on 25 Nov 2015 #

    Incidentally the longest drought there’s been while I’ve been here has been the 77-day intermission between ‘Mr Blobby’ and Take That’s ‘Babe,’ more than twice the current impasse. I don’t know what’s up next – I try to avoid looking ahead – but I doubt if Tom has been working on some 3000 word opus, more likely that he’s just been busy with other stuff.

  23. 73
    Tom on 2 Dec 2015 #

    Hello. Thanks for the concern. Sorry about that. A new entry is about to go up. I tend to get very avoidant when I’m feeling guilty about not putting something up so I stay away from the site entirely, or else I’d have come in and said something earlier.

    There isn’t a very good reason, other than being very busy at work and that eating into my thinking/writing time.

  24. 74
    Lazarus on 2 Dec 2015 #

    Good stuff! Does that mean my TOTP review from Sunday is going to see the light of day at last? Are there moderators in town?

  25. 75
    Mark G on 2 Dec 2015 #


    A lot of the recent postings have got stuck: Accepted, kept presumably, but not output. I guess it’s the “Moderation Blues”…

  26. 76
    Cumbrian on 3 Dec 2015 #

    I got the moderation blues,
    I see comments in thousands,
    And ten million spambots
    comin’ down the mountains.

  27. 77
    cryptopian on 5 Mar 2017 #

    Listening again, it just occurred to me how much 2000-02 production adores the chime-tree. “Run fingers through – instant magic!” It felt particularly egregious here, just before the chorus, since this is uptempo. Lots more chime-tree to come over the next year or so.

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