There’s a funky swagger to the thick bass that underpins the solid stomp of the percussion on ‘Jazz Funerals’, contrasting nicely with the interlooping chorus-laced guitars that nag away insistently… and then there’s James’ vocals. Beginning as a scarred croon, he soon breaks out into that distinctive throaty holler. And then, again, there’s the characteristically dark and offbeat lyrics... few bands are truly unique, but PWGG certainly are.
Flipside ‘Johnny and Mary’ is a very different affair and represents PWGG’s most pop moment to date. A Robert Palmer cover, on the face of things it’s an odd choice, but in the hands of PWGG the original’s flimsy synth line is replaced with a fuzzed-out lead guitar and rolling piano,and it sounds more the kind of classic quirky pop the likes of XTC used to knock out than anything recorded by the smoothest man to have ever come out of Batley. It’s a great version, and it also proves – as if further proof was needed – that PWGG aren’t only a great singles band, but are full of surprises.
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