I’ve got quite mixed feelings about background music in pubs. (I exempt music sessions and singarounds, which are about making music rather than having it in the background, and which don’t invite an audience: if you’re listening, the chances are you’re also playing or singing.) The only kind I can’t stand is the kind that’s too loud to hear yourself speak; I don’t even like that kind of volume in a club for as long as I’m not actually dancing, and in a venue where you can’t dance it seems downright perverse. I’m not crazy about piped music, or amplified live music for that matter, where it’s loud enough to be intrusive; too much of that and you start hankering after silence. But relatively quiet music can make a good backdrop to a drink and a chat.
The big exception to the rule about intrusively loud music is the jukebox, which I appreciate at more or less any volume. Really, the jukebox is commodity capitalism in musical form: it delivers music in discrete packages, each of which can be purchased for the same fee, and by doing so it generates both demand and competition: if you don’t like what someone else has put on, put your hand in your pocket and buy your own choice. All the same, there’s something liberating – empowering, even – about being able to turn your desire for music so quickly and easily into effective demand: a good jukebox lets you dredge up the song that’s going through your head, be it a B-side or a buried album track, and fill the room with it almost instantaneously. It’s not a million miles away from the buzz of singing a new song at a singaround – although obviously in that case there’s more effort involved, and no money changing hands.
Anyway, here are some songs I’ve filled rooms with in the past and hopefully will do again.
Van Morrison, “Astral Weeks”
“Where immobile steel rims crack, And the ditch in the back roads stop…” What’s it mean? What’s he going on about? Half a minute later it doesn’t matter. Bliss.
the Rolling Stones, “You can’t always get what you want”
For a long time I couldn’t pass the Crescent in Salford without going in, and I couldn’t go in without putting this on the jukebox. (To be fair, I only went down that street about once a week.) “I went down to the demonstration, To get my fair share of abuse…” Them weret’ days.
Wizzard, “See my baby jive”
The greatest single ever released. If it doesn’t lift your mood a bit you may be dead.
Radiohead, “Paranoid android”
Sometimes it’s not about lifting the mood. “From a great height… From a great height…”
Mott the Hoople, “All the young dudes”
This single had almost mythical status when I was growing up, largely because nobody I knew had a copy. If you ever found it on a jukebox, what a song. My friends and I were fascinated by the spoken passage that you can just make out in the fade – “I’ve wanted to do this for years… There you go!”
David Bowie, “Sound and vision”
I think we don’t always hear how weird this single is. It sounds as if the elements of a pop song have been shuffled and then put back together; they’re all there but nothing fits properly. It’s only let down by patches of downright ineptitude – he should have got rid of that saxophonist.
the Phantom Band, “Throwing bones”
Today on this programme you will hear gospel, and rhythm and blues, and jazz. And folk, and angsty singer-songwriter introspection, and quite a lot of Krautrock. And Scottish accents.
the Pet Shop Boys, “Left to my own devices”
There had to be some Pet Shop Boys (at least, when I’m in a pub there often is). “Being boring” and the wonderful “What have I done to deserve this” were strong contenders, but this won out – the eight-minute album version, of course. (You may detect a theme emerging here. By my reckoning these eight tracks come in at 47 minutes.) Strings by Trevor Horn, rap by Neil Tennant:
I was faced with a choice at a difficult age
Would I write a book, or should I take to the stage?
But in the back of my head I heard distant feet:
Che Guevara and Debussy to a disco beat.
You can’t say fairer than that.