"Did you know that Sandi Thom is working at Abbey Road with Will Young, Michelle McManus and David Sneddon?"
"Are they recording?"
"No, they're the night shift at St John's Wood MacDonalds."
I have been following the story of Sandi Thom with, perhaps, more interest than it deserves, especially since I have no strong views on her music. It happened to be one of those news stories, like the WMD dodgy dossier, where it was obvious at the time that the media had been fed a line. At the time, those unfamiliar with the Web might believe that electronic word of mouth might increase nightly webcast audiences from zero to 40,000 in three weeks, but nobody else did. In the rush of skepticism that followed, many were left believing that the whole webcast thing was a stunt and that she had been signed to RCA/Sony beforehand, which isn't true (or at least is specifically denied by those who would be in a position to know).
It seems that the sands of time are running out on her career. The follow-up album charted for a single week, the single for two, despite media and personal appearances, interviews and advertising on YouTube. Any day now, RCA will surely pull the plug. It remains baffling that of the 300,000 people who were happy to buy the first album, only 1% wanted to buy the second (whatever its merits): she just seems to be one of those people who can sell large numbers of records without inspiring loyalty or affection from the purchasers. It looks as if "Punk rocker" will suffer the same fate as the Diana version of "Candle in the wind" as a record people are reluctant to admit having bought.