From his Myspace :

 

Quick! Jack Needs You!

 

 

Jack's new single is a brand new version of 'No Time' - not available on the album. Set for release on September 10th on CD, 7" picture disc and download it will feature remixes by Wideboys, Kleerup and Elektrons.

 

Jack is shooting the video for 'No Time' in London this Saturday 28th July and you could be in it. We need a range of

different ages and backgrounds but long hair and a moustache would be an advantage for the boys! We're looking for about 25 fans so if you're up for it,

send a photo to Jack's moblog here along with your name and we'll get back to you and let you know when and where.

 

Has someone heard of this exclusive version??

It sounds interesting!

From his Myspace :

Has someone heard of this exclusive version??

It sounds interesting!

 

shouldnt this galliano-lite jazzfunker be in the pop section with Kate Nash, or is there some sexism goin gon here at buzzjack??? because if you are one of the dudes listed in the article below you can come in the indie section, but if you are a girl (and one that the Now Cd creditis with you being the single writer of your song) you have to go in pop with all the camp pop, Whigfield, S Club/Scooch/Pop!/Steps and High School Musical stuff??? ;)

 

i wonder who could be on the cover of the NME this week? no, i dont think its bjork :lol:

 

http://ebweb.at/ortner/tia/96/nme960720/nme960720_1.jpg

 

Mock'n'roll swindle: Are pop stars guilty of faking their working-class lifestyle and lingo?

By Marcus O'Dair from the Independent

Published: 27 July 2007

Having turned heads with "Caroline is a Victim", a cult hit on the indie label Moshi Moshi earlier in the year, Kate Nash recently leapfrogged at least five established levels of pop star ascendancy when her debut "proper" single, "Foundations", hit number two on the charts. Hype machine suitably fervid, Nash's debut album is now to be rush-released a full six weeks before its original slated date.

 

Equally predictable as the hype, however, are the accompanying online rants about where she went to school, what paper her parents read and, most of all, the authenticity of her accent. For if Nash's upbeat tone and jaunty, oh-so-natural delivery are reminiscent of Lily Allen – a link made explicit by her early position as one of Allen's top eight MySpace friends – then she is also likely to suffer the same backlash being endured by Allen and her extended crew, including Jamie T, Jack Penate, Just Jack, Adele, Remi Nicole and Mr Hudson and the Library.

 

Though these artists do not form an entirely homogeneous group, many are genuine friends. Allen has offered support slots to Penate and enthuses publicly about Nash, who is in turn firm friends with Adele, who is in turn signed to the same label as Penate, and so on. They also share enough characteristics to constitute a definite sub-genre of the recent singer-songwriter boom: namely, everyman street-pop from London, essentially a more melodic version of The Streets' witty, gritty urban reportage.

 

The less charitable point out that they do all this in an accent calling to mind Chas'*'Dave despite the fact that they're actually, well, a bit posh. Hadouken mocked them in "That Boy That Girl": "I went to a gig but nobody danced/ Everybody was far too cool/ All the kiddies they just stood there/ Is it the same at their public school?" They were targeted again, more bitingly, in "LDN is a Victim", a play on Lily Allen's "LDN" and Nash's single. The tune name-checked all the artists above except Adele, and had all the hipsters in stitches during its 15 seconds of internet fame earlier this year.

 

Both "That Boy That Girl" and "LDN is a Victim" were mildly amusing on initial listen. Their targets seemed, to varying degrees, legitimate. Allen, famous for her chavtastic fashion sense, was privately educated; "Mr" Ben Hudson's friendship with the grime MC Sway is outweighed in the cred stakes by his Oxford degree; and despite his flirtation with patois, Jamie Treays is a middle-class white boy from Wimbledon. Nash herself is from Harrow, not Hackney, and has got into trouble for her cockney accent, which recalls the Catherine Tate character Lauren "Am I Bovvered" Cooper. (Nash blog entries such as " every time i do something for tv i still get surprised and i'm, like, omygod i'm gonna be on tv!" contribute further to the impression).

 

Like Just Jack, Mr Hudson and the rest, Nash's casual delivery at times moves into plain talking that could just about be described as rap. But they're also all English, more or less middle class, and, with the exception of the half-Trinidadian Remi Nicole, white: not exactly troubling 50 Cent in terms of ghetto credibility.

 

The lyrics, too, sometimes fail to square with their relatively privileged upbringing. In "Birds", Nash tells of a lad fare-dodging on trains before meeting his girlfriend and jumping on a bus with "yesterday's travel cards and two bottles of Bud". The same kind of hoodied-up exploits are evident in Jamie T's "Sheila", who pours pints of Stella all over her fella; Lily Allen, who in "LDN" rides around on her bike "'cos the filth took away my licence"; and Hudson, who expresses hopes for "fame or a touch of bling" from beneath his trilby.

 

The criticism, as laid out in "LDN is a Victim", seems to be not that these artists are posh per se, but that they then give the impression of being "common people". As Jarvis Cocker sang a decade ago, everybody hates a tourist. Presumably, it's for this reason that Jack Penate "and his public school rock'*'roll crew" came in for particular stick, demolished with the line: "awesome, groovy, it's just a middle-class art-school thing, so put on your common accents and let's sing" .

 

If that's the charge, Nash and her mockney rebels are probably to some extent guilty. Nash is from London, so her accent isn't plucked from thin air, but the claims that she exaggerates it are given credence by her Brit School background.

 

But honestly: how serious a crime is the occasional affected glottal stop? In fact, like most of her cohorts, Nash has been upfront about her background. In any case, coming from Harrow (the not-so-posh part, apparently) isn't the same as coming from Harrow school. Even if she were an alumna, she'd be joining James Blunt and the rapper Yungun. (OK, only joking with that one. He went to Eton.)

 

The truth is that the history of rock is littered with posh kids: The Rolling Stones, Pink Floyd, Nick Drake. Even Joe Strummer was sent to boarding school by his diplomat father before becoming a punk icon.

 

The anonymous forces behind "LDN is a Victim" seem to have a woefully outdated view of the English class system, apparently oblivious to the fact that even the most aristocratic existence is not entirely confined to croquet and cucumber sandwiches (except perhaps in P G Wodehouse novels). Nash's tales are mainly about boys and going out. In "Merry Happy" she reminisces about "dancing at discos, eating cheese on toast"; in "Foundations", she complains about a none-too-suitable lad throwing up on her new trainers. You don't need to be Vicky Pollard to know about such subjects. Just ask Prince Harry.

 

Penate surely spoke for many when he told me recently: "I thought 'LDN is a Victim' was both funny and flattering. But I'm very bored of classist comments. If you're really poor you want to be really rich, if you're really rich you want to be really poor, and that's it." Jamie T, similarly, says he "doesn't give a toss about class" and was confident enough to pose with his parents, in their lounge, for the cover of a single last year.

 

It's a decision that exposes the irony central to this whole class obsession: that despite, or even because of, all the sniping, Treays, Nash and the rest appear relatively at ease with their social status – probably more so than many of their detractors. The real joke of "LDN is a Victim ", as with Nathan Barley, the scenester-satirising television series from which the song steals its closing lines, is that those smirking along are themselves far closer to the satirised subject than they might like to acknowledge. Most of us have encountered a fair few fashionistas whose public-school upbringing, despite attempts at camouflage, shines through brighter than any amount of nu rave neon.

 

Obviously, authenticity is intrinsic to the spirit of rock'*'roll. Equally obviously, however, is that there's been a hefty dose of showmanship involved ever since Gene Vincent got kitted out in biker leathers and (supposedly) exaggerated his limp. There's nothing new in adopting or exaggerating a cockneyesque twang, either. Damon Albarn is only the most recent in a lineage that dates back to The Small Faces.

 

Or, outside of rock, witness the calculated Estuary English of our recently departed Prime Minister, and even the linguistic shifts of Her Majesty herself, as outlined in a study of how the Queen's Christmas speech has changed over the decades. Everyone's at it.

 

Yet, at the same time, everyone's terrified of being outed for breaking that final taboo: being middle class. One band (not related to the aforementioned mockney scene) was sufficiently concerned to text this writer after a recent interview to qualify their private school background with the fact that " me and my mum lived in a small flat on not much money".

 

Paranoid, maybe, but as the saying goes, that doesn't mean they're not out to get you. It seems we're in the grip of a commoner-than-thou drive so powerful it's starting to resemble the Monty Python "I look down on him because..." sketch. Perhaps it's time to judge the victims of "LDN is a Victim" on their merits rather than socio-economic back story.

 

Kate Nash's album 'Made of Bricks' is out on Fiction on 6 August

Yes, maybe it should be in pop.

And if you ask me, Kate Nash shoulda been in this area.

 

But hey, it's just a forum! Don't you think it would be more interesting to discuss about the song itself than arguing about which section is the best for this? There or here, it won't change a thing.

Yes, maybe it should be in pop.

And if you ask me, Kate Nash shoulda been in this area.

 

too right!!!

 

But hey, it's just a forum! Don't you think it would be more interesting to discuss about the song itself than arguing about which section is the best for this? There or here, it won't change a thing.

 

well its not just arguing about whether it should be where or not, in this case its notions of sexuality, marketing, creativity, branding, authentithy, etc etc

 

and anyway its good to be passionate about your fave genre section than just being passive

 

to discuss the song it can only be of the 'i like this', 'i hate this' or 'its not as good as the last one(s) sort' and i think i'd rather just look at the funny picture below

 

http://www.londonlee.com/blog/pics/galliano.jpg