tag:blogger.com,1999:blog-86885119938038885192024-03-27T07:34:17.686-07:00Only the LonelyThe Music Will Always Save Usvoixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.comBlogger71125tag:blogger.com,1999:blog-8688511993803888519.post-25159669912904111542014-01-15T10:08:00.000-08:002014-01-15T10:08:10.007-08:00XTC - "Dear God" (1986)<div dir="ltr" style="text-align: left;" trbidi="on">
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I think we do all need a big reduction in the price of beer...<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com17tag:blogger.com,1999:blog-8688511993803888519.post-81890200942754501032014-01-09T23:28:00.001-08:002014-01-09T23:28:04.735-08:00Visage - "Fade to Grey" (1981)<div dir="ltr" style="text-align: left;" trbidi="on">
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Speaks for itself<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com1tag:blogger.com,1999:blog-8688511993803888519.post-72803935827371795192014-01-07T09:55:00.000-08:002014-01-07T09:59:10.763-08:00The Glove - Blue Sunshine (1983/2006)<div dir="ltr" style="text-align: left;" trbidi="on">
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The process of recording and touring for their fourth and darkest album, <i>Pornography</i> (1982), took a huge toll
on The Cure. The band's increasing drug abuse and in-fighting led bassist Simon Gallup to quit outright (although he would return 18 months later) and Robert Smith to jump ship temporarily in order to moonlight as a guitarist for Siouxsie and The Banshees (a job he
had held briefly in 1979) after the brilliant John McGeoch was
jettisoned due to severe alcohol abuse. Robert Smith: "The Cure disintegrated in its entirety. Concerts became nothing but an excuse to drink ourselves senseless. Inevitably it meant the end of all my ideals. During the <i>Pornography </i>tour I realized The Cure weren't any better than any other band on tour. I was actually doing everything I swore once I wouldn't. We even had rows back stage; it was horrible really! We were all stuck in a crazed trip, and I really wanted to get away from all that! Especially Simon threw himself into it, and eventually I became some sort of father telling him not to, you know? I just wanted to stop. I <i>had</i> to stop! Simon quit, and I got away. I didn't touch a guitar for 4 months. I had to become sane again. In interviews I was always talking about how The Cure were different from other bands; we weren't though. There was never enough time to really be different from other bands. We traveled all around the world and as soon as we got back there was another album that had to be recorded! During <i>Pornography</i>, I realized we had to break that cycle. I got to the point where I could only see myself as someone who was in The Cure; I stopped seeing me being myself actually!" In many ways, taking over lead guitar duties in The Banshees was an ideal remedy to Robert Smith's growing discontent with the direction of The Cure. Signing on for the second leg of the <i>Kiss the Dreamhouse</i> tour, Smith was able to retreat from the pressures of fronting his own band by embracing a supporting role for one of the few figures in post-punk who could outshine him at the time: Siouxsie Sioux. It was during a break between legs of this tour at the beginning of 1983 that Smith and Banshee bassist Steve Severin hatched the idea to write and record a
single as a one-off collaboration, but five months later, this idea had escalated into a full-fledged side-project with the goal of producing an album.</div>
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Smith & Severin decided to name their project The Glove, after a giant flying glove called the "murder mitten," which belonged to a corrupt policeman called the "Blue Meany" in The Beatles' 1968 animated film <i>Yellow Submarine</i>. However, just as the recording sessions began, things took a surreal turn when it was revealed
that Smith's recording contract with The Cure prevented him from singing
on any non-Cure releases, so in a pinch, Jeanette Landray, the girlfriend of
Banshee drummer Budgie and a dancer on Top of the Pops who had no previous singing
experience, was recruited to provide the lion's share of the vocals. Steve Severin: "Robert was prevented from singing on any of the Glove material by Chris
Parry (Head of Fiction records) although we eventually struck a deal
were he could sing two tracks under the proviso that they weren’t to be
released as singles. Therefore we had to audition for a singer.
Neither of us wanted another male involved and after some aborted
sessions I was pestered by Budgie’s then girlfriend, Landray into giving her a go. As she says herself she was in a strange position
because it was clearly our project. She did a good job under awkward
conditions, really." Jeanette Landray on her experience in The Glove: "Basically, because it was so clearly Robert and Steve's project I had a strange role, involved but not with any real say in the way things turned out, almost like a session musician really. I don't know what I'd actually expected but if I was offered something similar again I'd have a much clearer idea of the problems involved. I'm not bitter about it, but I have had to fight to get this far and it did get me some very useful exposure but I just underestimated how little expression I'd have in the promotion of the album. I still feel like a faceless voice to some extent." By most
accounts, the sessions were a hedonistic affair, with everyone involved ingesting copious amounts of LSD and speed, and watching film after film with the purpose of capturing "after-images" in the music itself. One of these films was <i>Blue Sunshine</i>, a 1978 cult film about a new form of LSD that causes baldness and homicidal behavior, whose title Smith and Severin would re-purpose for the title of their album.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJkbt-76txigOB1IlfGEzsNUGAA9bI_Vdk4iqOYtMlqDcWPdJuqAzp4pZJ8Og55nIEj5LBp3Me8K5E8afcL7vvMwtif1wrljWnYT_qLwdOgWm2wfL9RVl-9_khtWknZpzu4Jx8waAIpqZc/s1600/gloveFwhitegloveLfullQpic.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJkbt-76txigOB1IlfGEzsNUGAA9bI_Vdk4iqOYtMlqDcWPdJuqAzp4pZJ8Og55nIEj5LBp3Me8K5E8afcL7vvMwtif1wrljWnYT_qLwdOgWm2wfL9RVl-9_khtWknZpzu4Jx8waAIpqZc/s1600/gloveFwhitegloveLfullQpic.jpg" /></a></div>
Not surprisingly, the sound of <i>Blue Sunshine </i>is
a volatile cocktail of goth, neo-psychedelia, and eccentric pop, which Smith variously described at the time as "cultivated madness" and "a mental assault course." And while it is certainly hard to deny that Smith's distinctive vocals are missed throughout most of the album, Landray does do a respectable job, though it's
hard to overlook her similarity in tone to Siouxsie Sioux, a comparison
in which Landray comes up considerably short. On "Like an Animal," one
of Landray's best performances, Steve Severin's bass takes the lead to
great effect, as cheesy keyboard washes and frenetic percussion keep the
song from moving too far into darker territory. Where <i>Blue Sunshine </i>gets
really interesting is on songs such as "Orgy" with its Middle-Eastern
aesthetic and quirky twists and turns. It's all so vaguely Cure, but
ultimately unlike anything else in Smith's considerable discography or The Banshees' for that matter. Severin: "The idea that The Glove could get away with anything vanished very quickly because it became a real responsibility to get it to sound not indulgent. I think what I wanted was for it to have more of a specific personality than, say, The Banshees or The Cure. I mean, The Banshees have a set, almost concrete image that, no matter what we do, we're kind of stuck with on a very superficial daily paper 'ice-queen and doom and gloom' level."<br />
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<i>Blue Sunshine </i>(1983/2006)<br />
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Disc I: <i>Blue Sunshine</i><br />
1. Like an Animal <br />
2. <a href="http://www.youtube.com/watch?v=0kdBqwJD5_o&list=PLAD70CD78ADB781C4">Looking Glass Girl </a><br />
3. <a href="http://www.youtube.com/watch?v=c7AvGQivgP0&list=PLAD70CD78ADB781C4">Sex-Eye-Make-Up </a><br />
4. <a href="http://www.youtube.com/watch?v=yylfV1SaWSY&list=PLAD70CD78ADB781C4">Mr. Alphabet Says </a><br />
5. A Blues in Drag <br />
6. Punish Me with Kisses <br />
7. This Green City <br />
8. Orgy <br />
9. Perfect Murder <br />
10. <a href="http://www.youtube.com/watch?v=ZOdMgpV3v3w&list=PLAD70CD78ADB781C4">Relax </a><br />
-Bonus Tracks- <br />
11. The Man from Nowhere (Original Instrumental Mix) <br />
12. <a href="http://www.youtube.com/watch?v=CN4qs-dZ1Zg">Mouth to Mouth (Landray Vocal Mix)</a> <br />
13. Punish Me with Kisses (Mike Hedges Mix) <br />
14. The Tightrope (Original Instrumental Mix) <br />
15. Like an Animal (12" Club What Club? Mix)<br />
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Links in Comments</div>
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Disc II: Rarities <br />
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1. Like an Animal (Robert Smith Vocal Demo) </div>
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2. <a href="http://www.youtube.com/watch?v=xJ9BNGl5yOs">Looking Glass Girl (Robert Smith Vocal Demo) </a></div>
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3. Sex-Eye-Make-Up (Robert Smith Vocal Demo) </div>
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4. Mr. Alphabet Says (Alternate Robert Smith Vocal Demo) </div>
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5. A Blues in Drag (Alternate Robert Smith Vocal Demo) </div>
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6. <a href="http://www.youtube.com/watch?v=najK3wLGidk">Punish Me with Kisses (Robert Smith Vocal Demo)</a> </div>
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7. <a href="http://www.youtube.com/watch?v=2JxCE9_dH-k&list=PLAD70CD78ADB781C4">This Green City (Robert Smith Vocal Demo)</a> </div>
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8. Orgy (Robert Smith Vocal Demo) </div>
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9. Perfect Murder (Alternate Robert Smith Vocal Demo) </div>
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10. Relax (Alternate Robert Smith Vocal Demo) </div>
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11. The Man from Nowhere (Alternate Instrumental Mix) </div>
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12. Mouth to Mouth (Robert Smith Demo Vocal) </div>
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13. Opened the Box (A Waltz) (Robert Smith Vocal Demo) </div>
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14. The Tightrope (Almost Time) (Robert Smith Vocal Demo) </div>
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15. And All Around Us the Mermaids Sang (AKA Torment) (Robert Smith Vocal Demo) </div>
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16. Holiday 80 (Original Instrumental Mix)<br />
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*It was revealed after the release of the deluxe edition that Smith's vocals on the demo versions were recorded much more recently, rather than at the time the album was being recorded <br />
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<a href="http://www.discogs.com/Glove-Blue-Sunshine/master/32291">Release History</a></div>
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com15tag:blogger.com,1999:blog-8688511993803888519.post-87090508086448585342014-01-07T00:33:00.000-08:002014-01-07T00:35:27.260-08:00The Glove - "Punish Me with Kisses" (1983)<div dir="ltr" style="text-align: left;" trbidi="on">
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A taste of things to come....<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com2tag:blogger.com,1999:blog-8688511993803888519.post-89297306179253551402014-01-04T15:13:00.000-08:002014-01-04T16:15:34.402-08:00Roxy Music - "Ladytron" (1972) Old Grey Whistle Test<div dir="ltr" style="text-align: left;" trbidi="on">
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Does it get any better than Ferry/Eno-era Roxy?<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com4tag:blogger.com,1999:blog-8688511993803888519.post-85915397806520924302014-01-04T02:47:00.000-08:002014-01-04T02:47:14.527-08:00The Cure - "10:15 Saturday Night" (1979)<div dir="ltr" style="text-align: left;" trbidi="on">
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I know this feeling only too well lately<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-61994641549032185042014-01-03T08:40:00.002-08:002014-01-03T08:40:40.540-08:00Scars - "Leave Me in Autumn" (1981) Old Grey Whistle Test<div dir="ltr" style="text-align: left;" trbidi="on">
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Another great Scottish post-punk band that appeared at the dawn of the 1980s, Edinburgh's the Scars only released one album, and in my
estimation, it deserves far more recognition than it gets- love the bass playing on this...<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com5tag:blogger.com,1999:blog-8688511993803888519.post-23715203176244087922014-01-02T20:06:00.000-08:002014-01-02T20:06:51.333-08:00David Bowie - Space Oddity (1969/2009)<div dir="ltr" style="text-align: left;" trbidi="on">
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David Bowie (aka David Jones) had been struggling for years to achieve some semblance of commercial and artistic success as a musician, a journey that included stints as a blues-singer for mod-rock groups such as The King Bees and The Mannish Boys, a campy dance-hall dandy with a taste for Anthony Newley, and a Dylan-esque folksinger. While all of these musical incarnations failed miserably, it was, strangely enough, Bowie's participation in an avante-garde mime troupe that put him on the pathway to the kind of success he so badly craved. In 1968, now a solo mime artist, Bowie opened a show for Marc Bolan's Tyrannosaurus Rex, and in the process, ended up crossing paths with Bolan's producer Tony Visconti. Visconti's account of their initial meeting: "I met David about a month after Marc [Bolan] and I remember the weather. It was a
nice day, I was in David Platz’s office at 68
Oxford Street and he played me Bowie’s first Deram album, saying, 'What
do you think of this kid?' I said, 'he’s all over the map.' You know that
album, 'Uncle Arthur,' 'Mr Gravedigger' and so on, crazy songs, 'Laughing
Gnome'? I said, 'he’s great but so unfocused.' And he said, 'Come and meet
him, he’s in the next room.' David was about 19 at the time, very nervous
sitting there. He knew he was going to meet me, it had all been set up,
and David Platz left us after five minutes. We got on very well, we shared a love of Andy Warhol, underground music,
a group called The Fugs, which few British people were aware of. He was
obviously in love with American music and I loved him, he was a singer
songwriter, had this great English accent and now we were going to work
together. So we took a long walk down Oxford Street, on this nice day, we
continued to talk the whole day and about three hours later ended up on
King’s Road near a film theatre where Roman Polanski’s <i>Knife In The
Water</i> was playing. We’d been talking about foreign films and Truffaut,
specifically black and white and scratchy films, so we went in there and
we said goodbye at about 7 in the evening. We’d struck up a great
friendship."</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgCi5o2jLLqct1tM-64wkRsxMa2VKnQghjw64BYA1Y_gfIoYGPkodv9f14VqcRbhlZqJ2ZEkoXYkTcZSXDqF8EDIk2NsMux_Tinr2FcejAXJPX7Uub_HHPBPzyaN5pPkuTwfUowAhtcm9B/s1600/bowievisconti3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgCi5o2jLLqct1tM-64wkRsxMa2VKnQghjw64BYA1Y_gfIoYGPkodv9f14VqcRbhlZqJ2ZEkoXYkTcZSXDqF8EDIk2NsMux_Tinr2FcejAXJPX7Uub_HHPBPzyaN5pPkuTwfUowAhtcm9B/s320/bowievisconti3.jpg" width="320" /></a>To say this was a fortuitous encounter would be a vast understatement because Visconti proved to be instrumental in shaping the careers of both Bolan and Bowie, as well as helping to foster the birth of the glam-rock movement that would make them both superstars by 1972. At the time of their meeting in 1968, Bowie had managed to record an album for Deram the previous year, but it had failed to chart. As Visconti noted when he first heard the LP, <i>David Bowie</i> is an unfocused pastiche of an album, touching on dancehall numbers, show tunes, British invasion and even novelty songs. What was conspicuously absent was any significant reference to rock music, a much better forum for Bowie's growing avant-garde inclinations. This and the inconsistent songwriting all but sealed its fate with the public. As a result, his days at the label were numbered, and he was unceremoniously dropped in early 1968. However, just before his exit from Deram, Bowie had composed and recorded "Space Oddity," a song destined to eventually bring him his first taste of commercial success, and he had collaborated on a song with Visconti, "Let Me Sleep Beside You," which is arguably his first successful attempt at writing a rock song and a harbinger of what was to come next. Bowie had written a good deal of new material by the time he entered the studio again in 1969, this time on the dime of Mercury Records, to record his second album, now with Visconti as his producer. Among the songs to be recorded was a new version of "Space Oddity," which was obviously influenced by the Stanley Kubrick film, <i>2001: A Space Odyssey</i> and the impending Apollo 11 moon landing. Bowie had originally written and recorded the song for a promotional film for Deram called <i>Love You Till Tuesday</i>, which ended up staying in the can until 1984. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEwfVJq0eYGtDT1ICqCvVtYNUgvr3t-u9agWyI7gQnfKZ0jknq8EYkV7aGxsh33Et6f8iTr8uEtRYQ4M1RIm5RD6Ehjm20uCqGNOMqKVMn3um-5T7_P5ArdPd4CGcBewbFlghTuFjytdD4/s1600/bowie69g.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEwfVJq0eYGtDT1ICqCvVtYNUgvr3t-u9agWyI7gQnfKZ0jknq8EYkV7aGxsh33Et6f8iTr8uEtRYQ4M1RIm5RD6Ehjm20uCqGNOMqKVMn3um-5T7_P5ArdPd4CGcBewbFlghTuFjytdD4/s320/bowie69g.jpg" width="258" /></a>Reportedly, Mercury's willingness to fund the recording sessions for Bowie's second album was contingent on re-recording "Space Oddity" and releasing it as a lead single in time to capitalize on the upcoming moon landing, which was to happen roughly a month later. Visconti hated this idea as well as the song and had no interest in producing it, which is why his assistant, Gus Dudgeon, who would later become Elton John's producer, was pressed into service. Visconti: I turned it down. I thought it was a novelty song. I respected him for
the folk rock songs he gave me, with great depth in the lyrics, a real
underground writer. But then he hands me this Space Oddity song, which
was topical to the point of novelty. To this day I regret not doing it,
it’s a great song, people remember it more than Young Americans or Let’s
Dance. I offered it to Gus Dudgeon in the next office, he said, 'You
don’t want to record this? You’re crazy!' And he did a great job. Then
David came back to me. His record company would not let him make the
album unless he recorded Space Oddity. ‘Now that we’ve got that out of
the way,’ these were his exact words, ‘let’s get on with the album.’ It took a long time for that record to chart. He never did write a
follow-up to Space Oddity. His next single was The Prettiest Star, which
I got Marc Bolan to play on. But really nothing happened until he
conceived of Ziggy Stardust a couple of years later." The Dudgeon-produced version of "Space Oddity" is a dark, lush, and dramatic epic that quickly transcended the initial impression by critics that it was little more than a novelty song. Central to the song's success are the haunting "space" effects provided by a mellotron and a pocket electronic organ called a stylophone, Bowie's now-iconic vocal performance, and the distinctive prog-folk arrangement. The song also featured a compelling narrative. Bowie discussing the lyrics in 1980: "Here we have the great blast of American technological know-how shoving this guy up into space, and once he gets there he's not quite sure why he's there. And that's where I left him." Not only was "Space Oddity" Bowie's first hit (top five in the U.K.), but it also, in many ways, provided the blueprint for his Ziggy Stardust persona and his ongoing thematic preoccupation with social outcasts and aliens. Originally titled <i>David Bowie </i>in the U.K. (inviting confusion with his identically-titled Deram debut), <i>Man of Words / Man of Music </i>in the U.S. and renamed <i>Space Oddity </i>for its re-issue in 1972, Bowie's second album is an edgy dystopian artistic breakthrough, which, though suffering a bit from a lack of stylistic cohesion, offers several glimpses of the genius he would demonstrate in his work throughout the 1970s.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEHReO_E_3HW6fjrE2QgGH88vHFjoPz9jwqVVyNOt7MwLPcw7qMZBLN1URSuShpm8MuLnNg62nazJNZzOWDITUqFl47kIhwRimui-AaHGtyrwFxOJ-piuN0e5FL_8lWsUdiQiqo865hdUa/s1600/bowie-at-65-gallery-752194807.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEHReO_E_3HW6fjrE2QgGH88vHFjoPz9jwqVVyNOt7MwLPcw7qMZBLN1URSuShpm8MuLnNg62nazJNZzOWDITUqFl47kIhwRimui-AaHGtyrwFxOJ-piuN0e5FL_8lWsUdiQiqo865hdUa/s320/bowie-at-65-gallery-752194807.jpg" width="307" /></a> The approach to recording the album was a bit haphazard, but proved to be a valuable learning experience for all involved; as Visconti recalls, "Well, Bowie and I finished the <i>Space Oddity</i> album and we
looked at each other and realized it wasn't a rock album - we wanted to
make a rock album. We respected the rock groups around at the time like
Cream and such like, but we didn't have it in us! We needed someone to
be [that] important element, and that somebody we were introduced to was
Mick Ronson [....] So we got Mick down [from Hull], actually while we were in the last stages of finishing the <i>Space Oddity</i> album, and Mick actually played a little bit of guitar, and he clapped, on 'Wild Eyed Boy from Freecloud.' So he's on that album! But then we started jamming with him, and we got him to play on a John Peel
show, doing a little bit of guitar for us. John Peel knew Mick from
some work he did with a folk singer - I forget the name - and so he was
known to John Peel, who totally approved of Mick [playing] with us. So we got down to the nitty gritty part of putting the band together, and Mick turned to me and he said, 'You have to listen to Jack Bruce' [bass,vocals, Cream]. He had advice like that for every one of us. He
wasn't outspoken - he was very shy and all that, but if you asked him a
direct question he would give you a direct answer. So he said, 'you have
to listen to Jack Bruce,' and he made me get a short scale EB3 Bass, the
one that Jack Bruce played. I was already a guitarist/ bassist, and it was basically Jack Bruce that
played lead bass - it was like a second guitar to Eric Clapton. I was
bending strings and slapping it - getting distortion - and we have Mick
to thank for that. If it wasn't for Mick… ? Who knows? There might have
been no Ziggy Stardust. And I hate to say things like that because nobody really knows, but he was so important."<br />
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In addition to the title track, <i>Space Oddity </i>features several gems, including "Unwashed and Somewhat Slightly Dazed," a proto-Glam kiss-off (both stylistically and lyrically) to what Bowie took to be the "lock-step" mentality hiding beneath the surface of various late-sixties counter-cultural ideologies. At the outset, the song sounds as though it might be an idealistic ballad, as Bowie strums his acoustic 12-string and, with a heavily reverbed voice, sings to a pretty girl in a window. However, when the bass and drums join the mix, things turn dark, as the song transforms into a snarling indictment of class from the perspective of a social outcast. The album concludes with another epic, "Memory of a Free Festival," which, in effect, closes the door on the last traces of the hippie-influenced utopianism that had preoccupied much of Bowie's earlier work. While the song recounts, in beautifully idealized terms, his first appearance at Glastonbury Festival, it maintains a funereal tone until the cathartic fade/chorus of "The sun machine is coming down / And we're gonna have a party" brings the song to a powerfully ironic conclusion. Upon its release, <i>Space Oddity </i>garnered a number of ecstatic reviews, but, in the eyes of Mercury, the album failed to deliver on the promise of its lead single, as the tracks recorded with Visconti are far from accessible and often quite gloomy in tone. As a result, they failed to properly promote the album, so Bowie's commercial fortunes once again took a tumble. It was to be on the next album, <i>The Man Who Sold the World</i>, that Bowie, Visconti and Ronson would craft the sound that helped change the face of rock music in the 1970s.<br />
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<i>Space Oddity </i>(1969/2009) 40th Anniversary Edition</div>
<div style="text-align: left;">
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<div style="text-align: left;">
Disc I- <i>Space Oddity</i></div>
<div style="text-align: left;">
1. Space Oddity</div>
<div style="text-align: left;">
2. <a href="http://www.youtube.com/watch?v=uOpO7SGLdtM">Unwashed and Somewhat Slightly Dazed</a></div>
<div style="text-align: left;">
3. Letter to Hermione</div>
<div style="text-align: left;">
4. <a href="http://www.youtube.com/watch?v=OKMSgZo9c8s">Cygnet Committe</a></div>
<div style="text-align: left;">
5. Janine</div>
<div style="text-align: left;">
6. <a href="http://www.youtube.com/watch?v=PPY53xQu7jU">An Occasional Dream</a></div>
<div style="text-align: left;">
7. <a href="http://www.youtube.com/watch?v=_vuPGg2T5Lo">The Wild Eyed Boy from Freecloud</a></div>
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8. God Knows I'm Good</div>
<div style="text-align: left;">
9. <a href="http://www.youtube.com/watch?v=E-VQv65jiH8">Memory of a Free Festival</a></div>
<div style="text-align: left;">
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<div style="text-align: center;">
Links in Comments</div>
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Disc II- Bonus Material<br />
1. <a href="http://www.youtube.com/watch?v=hw4CpNqwZK4">Space Oddity (Demo)</a><br />
2. An Occasional Dream (Demo)<br />
3. <span class="track_title" itemprop="name">Wild Eyed Boy from Freecloud (Single B-Side)</span><br />
<span class="track_title" itemprop="name"> 4. </span><span class="track_title" itemprop="name">Let Me Sleep Beside You (BBC Radio Session D.L.T. Show) </span><br />
<span class="track_title" itemprop="name"> 5. </span><span class="track_title" itemprop="name">Unwashed and Somewhat Slightly Dazed (BBC Radio Session D.L.T. Show) </span><br />
<span class="track_title" itemprop="name"> 6. </span><span class="track_title" itemprop="name">Janine (BBC Radio Session D.L.T. Show) </span><br />
<span class="track_title" itemprop="name"> 7. </span><span class="track_title" itemprop="name">London, Bye, Ta-Ta (Stereo Version) </span><br />
<span class="track_title" itemprop="name"> 8. </span><span class="track_title" itemprop="name">The Prettiest Star (Stereo Version) </span><br />
<span class="track_title" itemprop="name"> 9. </span><a href="http://www.youtube.com/watch?v=fA5WyBMPULE"><span class="track_title" itemprop="name">Conversation Piece (Stereo Version)</span></a><br />
<span class="track_title" itemprop="name">10. </span><span class="track_title" itemprop="name">Memory of a Free Festival (Part 1) (Single A-Side) </span><br />
<span class="track_title" itemprop="name">11. </span><a href="http://www.youtube.com/watch?v=D6mABesTesg"><span class="track_title" itemprop="name">Memory of a Free Festival (Part 2) (Single B-Side)</span></a><br />
<span class="track_title" itemprop="name">12. </span><span class="track_title" itemprop="name">Wild Eyed Boy from Freecloud (Alternate Album Mix) </span><br />
<span class="track_title" itemprop="name">13. </span><span class="track_title" itemprop="name">Memory of a Free Festival (Alternate Album Mix) </span><br />
<span class="track_title" itemprop="name">14. </span><span class="track_title" itemprop="name">London, Bye, Ta-Ta (Alternate Stereo Mix) </span><br />
<span class="track_title" itemprop="name">15. </span><span class="track_title" itemprop="name">Ragazzo Solo, Ragazza Sola (Full Length Stereo Version) </span><br />
<br />
<div style="text-align: center;">
<a href="http://www.discogs.com/David-Bowie-Space-Oddity/master/32337"><span class="track_title" itemprop="name">Release History</span></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span class="track_title" itemprop="name">Links in Comments</span></div>
<div style="text-align: center;">
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<span class="track_title" itemprop="name"><i>Space Oddity </i>(2009) 40th Anniversary iTunes EP</span></div>
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<span class="track_title" itemprop="name"> 1. </span><span class="track_title" itemprop="name">Space Oddity (Mono Single Edit) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 2. </span><span class="track_title" itemprop="name">Space Oddity (US Mono Single Edit) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 3. </span><span class="track_title" itemprop="name">Space Oddity (US Stereo Single Edit) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 4. </span><span class="track_title" itemprop="name">Space Oddity (1979 Re-Record) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 5. </span><span class="track_title" itemprop="name">Space Oddity (Bass and Drums) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 6. </span><span class="track_title" itemprop="name">Space Oddity (Strings) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 7. </span><span class="track_title" itemprop="name">Space Oddity (Acoustic Guitar) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 8. </span><span class="track_title" itemprop="name">Space Oddity (Mellotron) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 9. </span><span class="track_title" itemprop="name">Space Oddity (Backing Vocal, Flute and Cellos) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">10. </span><span class="track_title" itemprop="name">Space Oddity (Stylophone and Guitar) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">11. </span><span class="track_title" itemprop="name">Space Oddity (Lead Vocal) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">12. </span><span class="track_title" itemprop="name">Space Oddity (Main Backing Vocal Including Countdown)</span></div>
<div style="text-align: left;">
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<div style="text-align: center;">
<a href="http://www.discogs.com/David-Bowie-Space-Oddity-40th-Anniversary-EP/release/2878854"><span class="track_title" itemprop="name">Release History</span></a></div>
<div style="text-align: center;">
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<div style="text-align: center;">
<span class="track_title" itemprop="name">Links in Comments</span></div>
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com13tag:blogger.com,1999:blog-8688511993803888519.post-55946768765900603192014-01-01T09:33:00.000-08:002014-01-01T09:33:12.285-08:00David Bowie - "Space Oddity" (1969) Hits-a-Go-Go<div dir="ltr" style="text-align: left;" trbidi="on">
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Nice footage of David's first European TV appearance in 1969. His first collaboration with Tony Visconti & Mick Ronson coming soon.....<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-37576810586280562602013-12-31T23:51:00.002-08:002014-01-01T10:43:08.063-08:00Orchestral Manoeuvres in the Dark - "Electricity" (1980)<div dir="ltr" style="text-align: left;" trbidi="on">
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Why are you into all the best things? Remember?<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-83560184483442209022013-12-31T16:01:00.000-08:002013-12-31T16:01:39.446-08:00The Railway Children - Reunion Wilderness (1987/2001) / Recurrence (1988) / Native Place (1990)<div dir="ltr" style="text-align: left;" trbidi="on">
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It is hard to over-estimate the influence of The Smiths on the revival of guitar-pop in England during the mid-to-late 1980s. Rather than being a London-based phenomenon, this revival emanated from the north, and just as it had during the rise of post-punk, Thatcher-era Manchester proved a particularly fertile ground for this unique integration of sixties-era guitar-pop and post-punk moodiness. Hailing from Manchester, The Smiths largely created the blueprint for much of what was to follow for the remainder of the decade; however, the influence of Scottish bands such as Orange Juice and The Scars, as well as Liverpool bands such as Echo & The Bunnymen and The Teardrop Explodes also informed this guitar-pop resurgence. In the summer of 1983, a group of Wigan teenagers from the outskirts of Manchester led by Gary Newby (songwriter/vocalist/guitarist) formed a band that, while featuring the jangly guitar-oriented sound that was quickly coming into vogue at the time, pursued a gentler approach to better feature Newby's subtly expressive vocals. Newby: "I was friends at school with Stephen Hull our bass player. We were in a couple of different bands together that never actually played any gigs. Then we met our drummer Guy Keegan, probably around '83, and started rehearsing as a three piece and playing bars and clubs around Wigan. We did mainly stuff I'd written plus a few covers, things like 'Crocodiles' by Echo & The Bunnymen or 'Figurehead' by The Cure. Brian Bateman joined on rhythm guitar, and the next big step came when we started playing clubs in Manchester, around '84. We eventually hooked up with our manager, Colin Sinclair, after various encounters, gigs, and demo tapes, including an aborted session with Martin Hannett. Colin owned a live venue and rehearsal studio just around the corner from the Hacienda, called The Boardwalk." After naming the band after a children's book by Edith Nesbit published in 1905, Newby, Hull & co. began gigging in and around Manchester and quickly built a devoted following due to their unique "gentle" sound, which culminated in a recording contract with the legendary Manchester independent, Factory Records.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mtpJQOCt4BxN7n5C5aODcLj-w2wqG37LcZFqWz87kLoFzOSKSJOtR3TpN1jQ5-EZ66Wpyo-wfGV_YpG_JTYHPtoePQ2uY3LAU3mIVMzJa9M5_vYy3ocpDKchGazS3jcNQg24gwu6LKGn/s1600/railway3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mtpJQOCt4BxN7n5C5aODcLj-w2wqG37LcZFqWz87kLoFzOSKSJOtR3TpN1jQ5-EZ66Wpyo-wfGV_YpG_JTYHPtoePQ2uY3LAU3mIVMzJa9M5_vYy3ocpDKchGazS3jcNQg24gwu6LKGn/s320/railway3.jpg" width="320" /></a>Newby: "Being on Factory was an amazing experience. There was a real buzz around rehearsing and putting the material together for what would be our first releases. We had a room at the top of the Boardwalk building next door to where James rehearsed. The Happy Mondays also rehearsed there along with some other Factory bands like ACR [A Certain Ratio] and Kalima. There was always bands coming and going. We'd grown up listening to Joy Division and New Order, and Tony Wilson was an inspirational character. I think we thrived in that atmosphere because it was completely unstructured and unpressured." Factory's penchant for allowing their artists to develop and explore their sound in an environment free of corporate interference payed dividends for The Railway Children. They released their first single, "A Gentle Sound," in 1986, and the following year, their debut LP, <i>Reunion Wilderness</i>, reached #1 on the UK indie charts. <i>Reunion Wilderness</i> features one of the band's best songs, "Brighter," a fine piece of avowedly romantic jangle-pop that certainly put them in line with much of the C86 crowd; however, the band's immediate success and Gary Newby's polished vocals suggested the band was far more marketable than many of their peers. And the majors did come knocking. It was Richard Branson of Virgin America who convinced the band to leave the nurturing confines of Factory, and though the short-term results were a bigger recording budget and a significant expansion of their fan base, jumping to a major label did have its drawbacks, as Virgin began to push them in an increasingly commercial direction. Newby: "After the release of <i>Reunion Wilderness</i>, we had a lot of interest from other companies, and I suppose we got seduced by the bright Lights. Looking back, we probably should have stayed with Factory for at least another album, and grown a little."</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7dRepPkZMbY3r-wv0OYAHCDW_xk6cvIx3WbD6M_tP_q-gpbnM_tjjrcCDMZ4940VIVuZnCjze3hp5B1OJFPHdjUb8vHjj1aXPLRnjPXZQd3FTXYLEPPlyD_-f3RHoQwclFT2sOTRgW05/s1600/railway9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7dRepPkZMbY3r-wv0OYAHCDW_xk6cvIx3WbD6M_tP_q-gpbnM_tjjrcCDMZ4940VIVuZnCjze3hp5B1OJFPHdjUb8vHjj1aXPLRnjPXZQd3FTXYLEPPlyD_-f3RHoQwclFT2sOTRgW05/s320/railway9.jpg" width="231" /></a>Staying on a little longer at Factory would have indeed been a good decision because the band's stint at Virgin was fated to be not only stormy, but ultimately fatal. Nevertheless, things did seem promising at the start. The Railway Children's second LP, <i>Recurrence</i>, was released in 1988, and they soon found themselves touring Europe and America with the likes of R.E.M. and The Sugarcubes. The album itself finds the band hitting their stride in terms of songwriting; "In the Meantime" is a particularly fine example of this. However, <i>Recurrence </i>bears the imprint of Virgin's influence on the band's sound, as it pushes them slightly away from the pure guitar-pop of their earlier work and into a more produced, at times even mainstream, direction- but the songs are good enough to consistently overcome this. And in light of the creative struggles that lay ahead for the band, <i>Recurrence</i> sits as The Railway Children's most fully-realized work. Despite its obvious quality, the album failed to meet Virgin's commercial expectations, and by the time The Railway Children's third album, <i>Native Place</i>, was released in 1990, the band, at the behest of their label, was out to score a chart hit, which they achieved with "Every Beat of the Heart," a song with a noticeably dancier, chart-friendly sound. Perhaps ironically, this would spell the end of The Railway Children's flirtation with mainstream success. Within two years, Virgin would be swallowed up by EMI, and the band found itself without a label. Completely fractured by their loss of direction, The Railway Children decided to split in 1992- a band whose early work suggested something unique and full of promise but whose creative flame was decimated by a major label's insistence on compromising artistic integrity for mainstream appeal: another cautionary tale to be sure. </div>
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<i>Reunion Wilderness</i> (1987/2001)</div>
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1. Another Town</div>
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2. The First Notebook</div>
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3. Railroad Side</div>
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4. <a href="http://www.youtube.com/watch?v=o7lzrcz0IoA">Careful</a></div>
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5. Brighter</div>
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6. Big Hands of Freedom</div>
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7. <a href="http://www.youtube.com/watch?v=D6QB01p6ScU">Listen On</a></div>
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-Bonus Tracks-</div>
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8. <a href="http://www.youtube.com/watch?v=jFoh6xgt48c">A Gentle Sound</a></div>
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9. History Burns</div>
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10. <a href="http://www.youtube.com/watch?v=3egsCpgPgIg">Content</a></div>
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11. Darkness & Colour</div>
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<a href="http://www.discogs.com/Railway-Children-Reunion-Wilderness/master/89587">Release History</a></div>
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<i>Recurrence</i> (1988)</div>
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1. Somewhere South</div>
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2. <a href="http://www.youtube.com/watch?v=D_RJV5gRt9c">A Pleasure</a></div>
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3. Swallowed</div>
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4. Merciless</div>
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5. My Word</div>
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6. <a href="http://www.youtube.com/watch?v=fgGLKN9E888">In the Meantime</a></div>
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7. Over and Over</div>
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8. <a href="http://www.youtube.com/watch?v=t1Zt1HIfJe0">Monica's Light</a></div>
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10. No Great Objections</div>
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<i>Native Place</i> (1990)</div>
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1. <a href="http://www.youtube.com/watch?v=TKbTaf-G0fA">Every Beat of the Heart</a></div>
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2. Music Stop</div>
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3. You're Young</div>
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5. Cotton Counting</div>
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8. Collide</div>
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10. Fall On</div>
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11. Harbour Force</div>
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12. <a href="http://www.youtube.com/watch?v=y5NtE6xNa5E">Blue Sky</a></div>
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com13tag:blogger.com,1999:blog-8688511993803888519.post-58511497700425284812013-12-31T00:47:00.000-08:002013-12-31T00:47:21.160-08:00The Railway Children - "Brighter" (1987)<div dir="ltr" style="text-align: left;" trbidi="on">
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Wigan indie-poppers offering up some choice jangle<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-30598488871276157982013-12-30T17:47:00.001-08:002014-01-04T02:02:54.201-08:00The Jesus & Mary Chain - "In a Hole" (1985) Old Grey Whistle Test<div dir="ltr" style="text-align: left;" trbidi="on">
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Aside from being the coolest clip ever (wait for the ending!), this song couldn't describe any more accurately the unbearable sadness and isolation dancing through my mind right now.<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com3tag:blogger.com,1999:blog-8688511993803888519.post-56254790917029833872013-12-30T12:24:00.000-08:002013-12-30T12:55:27.368-08:00The Servants - Reserved (2006) / Disinterest (1990) / Small Time & Hey Hey We're the Manqués (2012)<div dir="ltr" style="text-align: left;" trbidi="on">
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Led by the vastly under-appreciated singer and songwriter David Westlake, who has more than once been described as a post-punk version of Ray Davies, The Servants, formed by Westlake in 1985, were a natural yet reluctant fit among the figureheads of the guitar-pop resurgence that took hold in England during the mid-late 1980s, a movement that retroactively came to be known as "C86." Westlake, who hailed from Hayes, Middlesex, had already connected with guitarist John Mohan when he placed classified ads in a number of London music publications in the hope of putting together a proper band. Among the respondents was future bassist Phil King (who would go on to play in bands such as Felt, The Jesus & Mary Chain, Biff Bang Pow! and Lush). Phil King: "As for joining the Servants, I seem to remember seeing an ad looking for
a guitarist in the back of the ‘NME ‘around 1984. I am trying to
remember the groups it mentioned in the ad. The Smiths, the Go-Betweens,
Orange Juice' maybe? I remember there being a phone number and David's
address in Hayes, Middlesex [....] David had sent me a demo tape of some songs that included a rather
primitive version of 'She's Always Hiding' with no bass on it. I was of
course knocked out by it, and both the songwriting and John Mohan's
guitar playing. I was so excited by the tape I took it upon
myself to drive over to his place one Friday evening in my 1964 two tone
blue Humber Sceptre [....] David was of course rather surprised at my unannounced arrival but we
got on very well, and arranged to meet up for a rehearsal in his bedroom
with John Mohan the next week. We soon realised that we had one six
string guitar too many, so I ended playing a black short scale Fender
Musicmaster bass (there was also a Peavey combo bass amp there too) that
had been left by their friend Ed who had tried - and failed - to master
it. And that's how I started, and still play, bass." The new partnership of Westlake, Mohan and King paid off in a batch of promising songs, and after having named the band after the 1963 Harold Pinter-written film <i>The Servant</i>, they booked their first gig in King's Cross, London.<br />
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<tr><td class="tr-caption" style="text-align: center;">Cover of "The Sun, a Small Star" Single</td></tr>
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King: "I remember years later David telling me that I gave him an ultimatum
after we'd spent about a year rehearsing in his bedroom - with a drum
machine - and recording demos on a 4 track Portastudio, that either we
started playing some gigs or I'd leave. I have no memory of this
but I guess the reason I said that, if I indeed did, was because I was
so proud of the songs I just wanted everyone to hear them. Once we got a
drummer (one of the earlier ones, Eamon Lynam, was nicknamed 'Neasden
Riots', in the same way that the Clash's drummer Terry Chimes was called
'Tory Crimes' on the back of their first album, because he'd got into a
bit of 'trouble' in the neighbourhood and was put under a strict curfew
by the police), it all snowballed pretty quickly from our first show
supporting the Television Personalities at the Pindar of Wakefield in
Kings Cross in July 1985 to our last performance supporting Felt (the
'Lawrence Takes Acid' show) at Bay 63 around a year later." After only a few gigs, the band was signed to Head, an off-shoot of Creation Records, and in early-1986 released their first single, "She's Always Hiding," which garnered them much critical praise lauding their unique sound. For example, <i>NME</i> wrote, "Stop me if you've heard this one before, but there's currently
a group of earnest young men doing the rounds of London's beery
backrooms who play the sweetest, smartest evocations of The Velvet
Underground's sepulchral third LP these increasingly '60s-sated,
guitar-jaded ears have possibly ever heard. Still awake? Good, because The Servants (for it is they) are
- wait for it - different. Not for them the simplistic allure
of dark shades and darker strides, nor the convenient kudos of
easy chords. No, what brings The Servants close to Lou's crew's
gossamer grace-cum-disembodied depth is that self-same timbre;
the giddying suggestion of melodies conjured from the ether; a
recognition of enduring classicism; a similar striving for a sound
as perfect, as profound as (eek!) <i>silence</i>. Heck, their "She's Always Hiding" is the greatest dark-eyed,
love/hate song Reed never wrote..." On the heels of the first single, and only eight months after their first gig, The Servants were invited to record a John Peel session in March, 1986 and were also chosen to appear on NME's <a href="http://www.onlythelonelymusic.blogspot.com/2013/12/various-artists-cd86-48-tracks-from.html"><i>C86</i> compilation cassette</a>. However, Westlake, whose ambitions always leaned heavily in the direction of "art for the sake of art," was quite discomfited by the band's meteoric rise; as a result, he only reluctantly agreed to contribute a song to the NME compilation, and the song itself, "Transparent," was a B-side. Despite such early success, this first version of The Servants was destined to fall apart by the end of 1986.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1DOfczagcLQnIjxh2s-9Fo12R9qtclLatHH4A67Hr2EghO9-GQqZczSHai3Wkk_v9hNnH2NpSryg2rDj8xH-C_352bTxV5hZp4eqVKCsCffYcCO4T37MjX8KWusJxrXrVnqSXI_fLLYN8/s1600/Servants000.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1DOfczagcLQnIjxh2s-9Fo12R9qtclLatHH4A67Hr2EghO9-GQqZczSHai3Wkk_v9hNnH2NpSryg2rDj8xH-C_352bTxV5hZp4eqVKCsCffYcCO4T37MjX8KWusJxrXrVnqSXI_fLLYN8/s320/Servants000.png" width="247" /></a></div>
King: "We put out two singles (the second 'The Sun, A Small Star' sadly
posthumously, as we'd split up by then), recorded a John Peel session,
got a full page feature in the New Year's edition of the 1986 ‘NME’
hailing us as the next big thing, appeared on their C86 cassette and
played shows with amongst others the Jesus And Mary Chain, Felt, Primal
Scream, the Go Betweens, the Pale Fountains and the Wedding Present. By
the time we split up we'd only done twenty four gigs. To use the
snowball analogy, I guess it all gathered momentum a little too quickly
for David, got out of control, crashed into a tree, and um, broke up.
It was just a shame really as we had so many songs to record. Enough for
a few albums." Ironically, this is where the story of The Servants would have likely ended if not for the song Westlake had begrudgingly contributed to NME's C86 compilation; the mail-order-only cassette had become a huge success (eventually released as an LP), providing a catalyst for the rise of an all-too-brief D.I.Y. guitar-pop resurgence in the UK. Inspired by the enthusiastic support of John Peel, Westlake decided to reform the band, which now included guitarist Luke Haines (who would later find fame leading The Auteurs and Black Box Recorder). Haines recalling his move to London where he was to shortly cross paths with The Servants: "Brixton was kind of heavy at that time, not like it is now full of middle class people. It was good and full of rastas and good fun. I was sort of a nice middle class boy who had gone to music college and what not, not much, just a couple of days a week. It didn't require much of my presence [....] I had a few attempts at bands and what not in the mid-80s. Then I answered an advert in Sounds Magazine [...] for a band called The Servants who needed a guitar player, so I answered that advert and I kind of got the gig. I was then in The Servants for about five years or something. Unfortunately, The Servants had already had their, I suppose, day in the sun prior to me joining them. So I essentially joined a band that was struggling quite a lot. I mean even in the mid-to-late eighties guitar bands didn't expect to sell any records. You did it purely for artistic reasons. You know, there wasn't really this idea that you could be a big pop star- that all came later on in, I suppose, the nineties." Soon thereafter, The Servants were signed to Creation Records, who immediately began pressuring them for an album. After filling out the new version of the band, Westlake, Haines & co. entered the studio to record a batch of new songs; however, Creation mysteriously chose to only release a mini-album, and did so as a David Westlake solo album, titled <i>Westlake, </i>which was barely heard. By the end of the 1987, Creation had unceremoniously dumped the band.<br />
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<div style="text-align: left;">
This was yet another point at which the story of The Servants might have ended, but once again, they were resurrected through the goodwill of a benefactor- this time, Dave Barker of Glass Records who signed them in mid-1988 and gave them a small budget to record their first, and long-delayed, proper album. This time with a new drummer, Hugh Whitaker, who was looking to flee from the overwhelming
(yet short-lived) popularity of his then-present band, The Housemartins. However, misfortune struck again as Glass was financially insolvent, so plans for the album were scrapped and a 4-song EP was recorded instead, <i>It's My Turn</i>, which, despite being another testament to the band's prodigious talents, didn't see the light of day until the fall of 1989. By this time, Whitaker had jumped ship, so Westlake and Haines once again assembled a new lineup, signed with Paperhouse Records and set to work on their long delayed debut album, the sarcastically titled and shockingly original, <i>Disinterest</i>, which once again made the critics take notice; however by this time, The Servants had progressed far beyond the limits of the rudimentary guitar-pop of the C86 scene (although they never really fit the whole "shambling" aesthetic anyway). Fusing disparate influences such as later Velvet Underground, The Talking Heads and The Go-Betweens, <i>Disinterest </i>sounded like nothing else in 1990- a largely experimental record that was somehow both too late to be noticed and too soon to be understood, a record out of time in every sense, a record Haines once described as "existential art-rock." Heartened by the critical reception to their new work even though no one else heard it due to Paperhouse's lackluster backing, Westlake and Haines began recording demos in 1991 for a follow-up album to be called, again ironically, <i>Small Time</i>. According to Haines, <i>Small Time</i> was the band's "best album, a strange and wonderful thing," the songs being "more mysterious, strange and beautiful, transcending their influence and sounding like nothing else." However, the album was fated not to see release until 2012, long after The Servants had disintegrated into an even more pronounced obscurity- Luke Haines going on to find fame in The Auteurs and David Westlake disappearing from the music business for twenty years (he became a solicitor) until releasing a solo album, <i>Play Dusty for Me</i> in 2002. Luke Haines: "I like bands that have gone professional and then they go into freefall and do what the hell they like." Indeed Luke, indeed.
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<br /></div>
<div style="text-align: left;">
<i>Reserved</i> (2006)</div>
<div style="text-align: left;">
1. <a href="http://www.youtube.com/watch?v=X2R-dV6uwYk">The Sun, a Small Star</a></div>
<div style="text-align: left;">
2. A Fleeting Visit</div>
<div style="text-align: left;">
3. You'd Do Me Good</div>
<div style="text-align: left;">
4. Afterglow</div>
<div style="text-align: left;">
5. She Whom I Once Dreamt Of</div>
<div style="text-align: left;">
6. It Takes No Gentleman</div>
<div style="text-align: left;">
7. <a href="http://www.youtube.com/watch?v=EH0YmpUMfKA">It's My Turn</a></div>
<div style="text-align: left;">
8. Rings on Her Fingers</div>
<div style="text-align: left;">
9. Meredith</div>
<div style="text-align: left;">
10. <a href="http://www.youtube.com/watch?v=jrnRRhWaQ-0">She's Always Hiding</a></div>
<div style="text-align: left;">
11. Do or Be Done</div>
<div style="text-align: left;">
12. Faithful to Three Lovers</div>
<div style="text-align: left;">
13. Transparent</div>
<div style="text-align: left;">
14. Funny Business</div>
<div style="text-align: left;">
15. <a href="http://www.youtube.com/watch?v=3j4ADPTubPI">Loggerheads</a></div>
<div style="text-align: left;">
16. Search Under Stones</div>
<div style="text-align: left;">
17. Water Baby Blonde</div>
<div style="text-align: left;">
18. Hey Mrs. John</div>
<div style="text-align: left;">
19. Who's Calling You Baby Now?</div>
<div style="text-align: left;">
20. <a href="http://www.youtube.com/watch?v=DOsrdjyaDQc">I Just Wasn't Made for These Times</a></div>
<div style="text-align: left;">
21. Untitled</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Servants-Reserved/release/1288346">Release History</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Links in Comments</div>
<div style="text-align: center;">
<br /></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<i>Disinterest </i>(1990)</div>
<div style="text-align: left;">
1. Move Out</div>
<div style="text-align: left;">
2. The Power of Woman</div>
<div style="text-align: left;">
3. Restless</div>
<div style="text-align: left;">
4. Third Wheel</div>
<div style="text-align: left;">
5. Thin-Skinned</div>
<div style="text-align: left;">
6. Self Detruction</div>
<div style="text-align: left;">
7. Hush Now</div>
<div style="text-align: left;">
8. <a href="http://www.youtube.com/watch?v=n0u5UkhGtP0">They Should Make a Statue</a></div>
<div style="text-align: left;">
9. Hey, Mrs. John</div>
<div style="text-align: left;">
10. <a href="http://www.youtube.com/watch?v=L9uOxZEJ7mQ">Look Like a Girl</a></div>
<div style="text-align: left;">
11. Big Future</div>
<div style="text-align: left;">
12. Afterglow</div>
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<br /></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Servants-Disinterest/master/212601">Release History</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Links in Comments</div>
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<br /></div>
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<i>Small Time</i> / <i>Hey Hey We're the Manqués</i> (2012)</div>
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<br /></div>
<div style="text-align: left;">
Disc I: <i>Small Time</i></div>
<div style="text-align: left;">
1. <a href="http://www.youtube.com/watch?v=Vo0-AYXyJY0">Everybody Has a Dream</a></div>
<div style="text-align: left;">
2. Don't Leave Town</div>
<div style="text-align: left;">
3. <a href="http://www.youtube.com/watch?v=vpoi7tRsUvY">People Going Places</a></div>
<div style="text-align: left;">
4. Complete Works</div>
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5. Dating Then Waiting</div>
<div style="text-align: left;">
6. Born to Dance</div>
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7. Motivation</div>
<div style="text-align: left;">
8. Let's Live a Little</div>
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9. Aim in Life</div>
<div style="text-align: left;">
10. Rejection</div>
<div style="text-align: left;">
11. Fear Eats the Soul</div>
<div style="text-align: left;">
12. <a href="http://www.youtube.com/watch?v=r1_CV2QOUYo">The Thrill of It All</a></div>
<div style="text-align: left;">
13. All Talk</div>
<div style="text-align: left;">
14. Out of Your Life</div>
<div style="text-align: left;">
15. <a href="http://www.youtube.com/watch?v=HbI-E_YntCg">Slow Dancing</a></div>
<div style="text-align: left;">
16. Born to Dance (2)</div>
<div style="text-align: left;">
17. The Thrill of It All (2)</div>
<div style="text-align: left;">
18. All Talk (2)</div>
<div style="text-align: left;">
19. Out of Your Life (2)</div>
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<div style="text-align: left;">
Disc II: <i>Hey Hey We're the Manqués</i></div>
<div style="text-align: left;">
1. <a href="http://www.youtube.com/watch?v=fvX5z3A518o">The Word Around Town</a></div>
<div style="text-align: left;">
2. She Whom Once I Dreamt Of</div>
<div style="text-align: left;">
3. You'd Do Me Good</div>
<div style="text-align: left;">
4. <a href="http://www.youtube.com/watch?v=kzJ2tlN7loU">She Gew and She Grew</a></div>
<div style="text-align: left;">
5. She's Always Hiding</div>
<div style="text-align: left;">
6. Look Like a Girl</div>
<div style="text-align: left;">
7. Third Wheel</div>
<div style="text-align: left;">
8. Thin-Skinned</div>
<div style="text-align: left;">
9. Hey, Mrs. John</div>
<div style="text-align: left;">
10. They Should Make a Statue</div>
<div style="text-align: left;">
11. Move Out</div>
<div style="text-align: left;">
12. Big Future</div>
<div style="text-align: left;">
13. Restless</div>
<div style="text-align: left;">
14. The Power of Woman</div>
<div style="text-align: left;">
15. Hush Now</div>
<div style="text-align: left;">
16. Afterglow</div>
<div style="text-align: left;">
17. Self-Destruction</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Servants-Small-Time-Hey-Hey-Were-The-Manqu%C3%A9s/master/635475">Release History</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Links in Comments</div>
<div style="text-align: center;">
<br /></div>
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com13tag:blogger.com,1999:blog-8688511993803888519.post-40003405611697579272013-12-28T12:38:00.001-08:002013-12-28T12:38:40.443-08:00The Servants - "Look Like a Girl" (1990)<div dir="ltr" style="text-align: left;" trbidi="on">
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Quite possibly the best band you've never heard. More Servants coming soon.....<br />
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<iframe allowfullscreen="" frameborder="0" height="386" src="//www.youtube.com/embed/L9uOxZEJ7mQ" width="515"></iframe></div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-16786977849077908012013-12-28T02:06:00.002-08:002013-12-28T02:06:50.209-08:00Nick Lowe - "Cruel to Be Kind" (1979)<div dir="ltr" style="text-align: left;" trbidi="on">
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One of those perfect pop-songs, and right on the mark <br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com3tag:blogger.com,1999:blog-8688511993803888519.post-5605472142455370952013-12-27T09:21:00.000-08:002013-12-27T09:21:35.401-08:00Notes from the Paisley Underground: The Long Ryders - 10-5-60 EP (1983/2011) / Native Sons (1984/2011) / State of Our Union (1985/1990)<div dir="ltr" style="text-align: left;" trbidi="on">
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While Uncle Tupelo is commonly credited with spearheading the rise of
the alt-country movement (referred to in some quarters as "No
Depression") that flourished throughout the 1990s, its true origins
can be traced back to a number of Los Angeles-based cow-punk bands that
inhabited the margins of the Paisley Underground scene during the early 1980s. Bands such as Tex and The Horseheads, Blood on the Saddle, The
Beat Farmers, Rank and File and many others helped pioneer the unique
fusion of country music and punk that would profoundly inform alt-country stalwarts Uncle Tupelo, Wilco, and Whiskeytown a decade later; however, no
cow-punk band was more influential or as talented as The Long Ryders who
integrated influences such as Gram Parsons, The Byrds, and Buffalo
Springfield into a harder-edged punk-infused sound. The seeds for what
eventually became The Long Ryders were sown in an uber-obscure and
militantly retro Los Angeles garage-psych band called The Unclaimed,
which Sid Griffin had joined in 1978 after tiring of the then-nascent punk scene. However, Griffin soon felt trapped by the band's
unwillingness to broaden their mid-sixties aesthetic and consequently
left in late 1981 to form the nucleus of what would quickly evolve into
The Long Ryders, which early on included Steve Wynn who soon left to
form The Dream Syndicate. Fatefully, the band's formation coincided with
the beginnings of the Los Angeles-based pysch-rock revival that
eventually (and quite reductively) came to be known as the "paisley underground," a scene that actually featured an eclectic mix of bands
that were linked together more through strong friendships and an ethos
of mutual support than any sense of a shared musical approach.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3G-wn107zGk6B_sMfhHW0VR9_pvrdffcAzDtGfB7g1SfjsZdZDxXrZI-ZMJWyN7ME1xnsUUnVDLEpA95QwZbJ-WEzOtxMdn2E-ibjaWO_LAAXypE9Zt9iP5TCpKLW6r3C1ELfJ9EiBnK/s1600/Long+RydersCROP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3G-wn107zGk6B_sMfhHW0VR9_pvrdffcAzDtGfB7g1SfjsZdZDxXrZI-ZMJWyN7ME1xnsUUnVDLEpA95QwZbJ-WEzOtxMdn2E-ibjaWO_LAAXypE9Zt9iP5TCpKLW6r3C1ELfJ9EiBnK/s320/Long+RydersCROP.jpg" width="320" /></a>Sid Griffin: "There was tremendous sharing in those days. At first
everyone was on equal footing and then some bands became rather
possessive and a bit more private but the Long Ryders were always
looking at things from a socialist perspective. People shared amps,
guitars, worked for other bands [...] Steve Wynn put out the early Green
on Red album, I worked doing merch for several bands, Matt Piucci of
Rain Parade became a kinda guitar roadie if you needed help like that
and the Bangles sang back up on a lot of other people's records. Many of
the bills of the day were three of these bands all at once. Perhaps
Bangles, Dream Syndicate, Long Ryders, something like that." The early
days of The Long Ryders featured several lineup changes, but their debut
EP, <i>10-5-60</i>, produced by former Sparks guitarist Earl Mankey,
established the band as peerless exponents of the kind of
country-infused jangle-pop The Byrds were doing in their post-<i>Sweetheart of the Rodeo</i>
incarnation. Starting with the stellar Griffin-penned jangle rave-up
"Join My Gang," a song that might actually be better than a good
percentage of the material many claim it is emulating, and also
featuring the raucous title track, a garage-rock holdover from Griffin's
days in The Unclaimed,<i> 10-5-60</i> finds the band on the precipice of greatness. Following the release of <i>10-5-60</i>, the band's bass player, Des
Brewer, jumped ship to resume his career as a longshoreman, which
apparently appealed to him more than touring; as a result, Tom Stevens,
who at the time was working at a record store, joined The Long Ryders,
thus ushering in the band's classic line-up. Having recently signed to
Frontier Records, the band entered the studio with producer Henry Lewy
whose résumé included the first two Flying Burrito Brothers LPs, and the
result, their first full-length LP, <i>Native Sons</i>, represents a step away from the occasionally literalistic approach of <i>10-5-60</i>
and step towards something approximating what Gram Parsons once
described as "cosmic American music."<br />
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Tom Stevens: "From the start, The
Long Ryders were all about hybrids of pure American styles of music, as
mostly defined by 60s bands, both rock and country. That all distilled
through skilled songwriting into more of the classic style that you hear
on <i>Native Sons</i> [....] I think at the time The Long Ryders were
at the very height of their songwriting powers, and ability to naturally
hybrid cool styles into a single form." From the opening track, "Final
Wild Son," a snarling paisley update of Bob Dylan's "Highway 61
Revisited," to "Wreck of the 809," a psych-drenched version of
R.E.M.-style Jangle-Pop, to the brilliant single, "I Had a Dream," a
song that manages to stand shoulder to shoulder with the band's
formidable influences (Griffin's vocals can't help but recall Gene
Clark) and to lay out a sonic blueprint that would keep Jeff Tweedy busy
for the better part of a decade, <i>Native Sons </i>stands as The Long Ryders' masterpiece<i>. </i><i>State of Our Union </i>was the
band's second full-length and first major label release. While there is a
palpable production sheen cast over the proceedings, it ultimately
lends this brilliant set of songs a certain punchiness that serves the
music well. The album kicks off with a stone-cold classic in "Looking
for Lewis and Clark," a powerful political anthem that sets out to punch
a few holes in Reagan's "morning in America" myth. Another standout is
"Here Comes That Train Again," a gorgeously spacious piece of jangle-pop
that repeatedly conjures the ghost of Gram Parsons. Although it is arguably over-produced, <i>State of Our Union </i>is one of the most beautiful and
enduring albums to emerge from the paisley underground scene as well as
one of the most eloquently political albums of the 1980s. Drummer Greg Sowders:
"we wanted to control our own art and it was just a very do-it-yourself
attitude that we learned from the punks. But ultimately we thought punk
rock in L.A.- I do kind of exclude X because they were very musical- but
a lot of them really sucked [....] But that do-it-yourself attitude and
the 'we want to control everything ourselves and deal directly with the
fans'- that's what we learned from the punks. Plus, we liked to play
our songs kinda fast."<br />
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<br />
Native Sons (1984/2011)<br />
1. Final Wild Son<br />
2. <a href="http://www.youtube.com/watch?v=8Sv28LwQ77Y">Still Get By</a><br />
3. <a href="http://www.youtube.com/watch?v=CjDe-rFSLRY">Ivory Tower</a><br />
4. <a href="http://www.youtube.com/watch?v=dgVa-8jGfO0">Run Dusty Run</a><br />
5. (Sweet) Mental Revenge<br />
6. Fair Game<br />
7. Tell It to the Judge on Sunday<br />
8. Wreck of the 809<br />
9. Too Close to the Light<br />
10. Never Got to Meet the Mom<br />
11. <a href="http://www.youtube.com/watch?v=FfrGqRdsG_E">I Had a Dream </a><br />
<br />
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<br />
-<i>10-5-60 </i>EP<br />
12. Join My Gang<br />
13. You Don't Know What's Right, You Don't Know What's Wrong<br />
14. <a href="http://www.youtube.com/watch?v=m2TkAvCRma0">10-5-60</a><br />
15. Born to Believe in You<br />
16. The Trip<br />
17. <a href="http://www.youtube.com/watch?v=44T--9HjNeU">And She Rides</a><br />
-Bonus Tracks-<br />
18. Time Keeps Traveling (Studio Version)<br />
19. I Can't Hide<br />
20. Masters of War (First Version)<br />
21. Still Get By (First Version - Radio Tokyo 1982)<br />
22. 10-5-60 (First Version - Radio Tokyo 1982)<br />
23. And She Rides (First Version - Radio Tokyo 1982)<br />
24. Too Close to the Light (Buckskin Mix)<br />
<br />
<div style="text-align: center;">
<a href="http://www.discogs.com/Long-Ryders-Native-Sons/master/212020">Release History</a></div>
<div style="text-align: center;">
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<div style="text-align: center;">
Links in Comments</div>
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<i>State of Our Union</i> (1985/1990)</div>
<div style="text-align: left;">
1. Looking for Lewis and Clark</div>
<div style="text-align: left;">
2. Lights of Downtown <br />
3. <a href="http://www.youtube.com/watch?v=x7CzHeIgE9w">WDIA</a> <br />
4. <a href="http://www.youtube.com/watch?v=VrW-UbovwCg">Mason-Dixon Line</a> <br />
5. Here Comes That Train Again <br />
6. Years Long Ago <br />
7. Good Times Tomorrow, Hard Times Today <br />
8. Two Kinds of Love <br />
9. You Just Can't Ride the Boxcars Anymore <br />
10. Capturing the Flag <br />
11. <a href="http://www.youtube.com/watch?v=cuhLGhHqYHs">State of My Union </a><br />
-Bonus Tracks-<br />
12. If I Were a Bramble and You Were a Rose <br />
13. Southside of the Story <br />
14. Child Bride<br />
15. Christmas in New Zealand </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Long-Ryders-State-Of-Our-Union/master/90563">Release History</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Links in Comments</div>
<div style="text-align: center;">
<br /></div>
</div>
<iframe allowfullscreen="" frameborder="0" height="290" src="//www.youtube.com/embed/TjFqWCaM5cE?list=AL94UKMTqg-9ArALfgxpBhg3J5Ydl1LLtu" width="515"></iframe>
<br />
<div style="text-align: center;">
<a href="http://onlythelonelymusic.blogspot.com/p/blog-page_28.html">Additional Paisley Underground Posts</a></div>
</div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com5tag:blogger.com,1999:blog-8688511993803888519.post-65017943057068245432013-12-27T09:06:00.000-08:002013-12-27T09:06:35.388-08:00The Long Ryders - "Looking for Lewis & Clark" (1985) Old Grey Whistle Test<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
Great great paisley band, channeling The Byrds & the Burrito Bros...<br />
<br />
</div>
<iframe allowfullscreen="" frameborder="0" height="386" src="//www.youtube.com/embed/bAMmrCCaAoo" width="515"></iframe></div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-76545217663358415812013-12-25T20:28:00.000-08:002013-12-25T20:30:11.124-08:00The Jesus & Mary Chain - "Just Like Honey" (1985)<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="text-align: left;">
jlw </div>
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<br /></div>
<div style="text-align: left;">
"Listen to the girl<br />
As she takes on half the world<br />
Moving up and so alive<br />
In her honey dripping beehive<br />
Beehive<br />
It's good, so good, it's so good<br />
So good"</div>
<div style="text-align: center;">
<br /></div>
</div>
<iframe allowfullscreen="" frameborder="0" height="386" src="//www.youtube.com/embed/7EgB__YratE" width="515"></iframe></div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com2tag:blogger.com,1999:blog-8688511993803888519.post-78521418430689761412013-12-25T09:54:00.002-08:002013-12-25T09:54:46.127-08:00Crispy Ambulance - Fin (1985/1990) / Scissorgun (2002) / The Powder Blind Dream (2004)<div dir="ltr" style="text-align: left;" trbidi="on">
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While Crispy Ambulance was certainly no stranger to sonic
experimentation in the studio, their live performances were where they
let their more aggressive sonic tendencies reign supreme. In early 1982,
preceding the release of<i> <a href="http://www.onlythelonelymusic.blogspot.com/2013/12/crispy-ambulance-plateau-phase-19821999.html">The Plateau Phase</a></i>,
the Crispies joined a European tour organized by Wally Van Middendorp,
front-man for Dutch post-punk minimalists, the Minny Pops, which they
headlined with Factory Benelux label-mates Section 25. All eight shows
were recorded by Section 25 soundman John Hurst, and these tapes became
the source of the cassette-only 1983 release, <i>Open Gates of Fire</i>. Ironically, it would be this release, along with the cassette-only compilation, <i>The Blue and Yellow of the Yacht Club, </i>that
would finally garner Crispy Ambulance the critical praise they had been
denied following the release of their stunning debut album. Soon
after, a full critical reappraisal of the Crispies took place, and <i>The Plateau Phase</i>, once<i> </i>summarily
written off by critics as a purely derivative work, was now being
hailed as a masterpiece; for example, David McCullough called it an
album that "wasn't only ahead of its time, it seemed to have invented
its own time [...] and still ranks as a monster of an album."
Nevertheless, by the time people had finally begun to listen, the band
had already decided to call it quits, soon thereafter reforming as the
thoroughly forgettable Ram Ram Kino before fading from memory for the
next seventeen years.<br />
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A full three years after the band's demise, much of the live material from 1981/1982 originally collected on <i>Open Gates of Fire</i> was given a more proper release as <i>Fin</i>,
an album more than worthy of being the epitaph for Crispy Ambulance's
original run, but also an album that begs the question: what if they had
recorded a second studio album? These live performances caught the band
both on a creative ascendance and heading toward dissolution; as such, <i>Fin</i>
demonstrates a sound quite different from earlier Crispy Ambulance
recordings. One of the album's obvious highlights is "The Plateau
Phase," which did not appear on the album of the same name. Recorded in
Brussels in early 1982, the song has a nervy, scratchy, doom-drenched
quality that builds tension behind Hempsall's wandering, languorous
vocals. Another standout is "Choral," a song never recorded in the
studio due to some resistance within the band to exploring a more overtly
electronic-based sound. Nevertheless, on <i>Fin</i>, the song comes off
as a charging kraut-rock inspired gem that features some nice
guitar-work by Davenport and a particularly ominous vocal performance by
Hempsall. The posthumous release of this live album only furthered the
Crispies' meteoric rise in the esteem of the critics. Writing in
response to the re-issue of <i>Fin </i>in 1990, NME wrote, "Long before
Manchester crawled back into flared trousers, bands such as Crispy
Ambulance were busily painting their city black with urban mood music.
The Crispies were doomed at the time by being compared to Joy Division,
but as this record shows, they were much looser and far less serious
than the mighty JD [....] Too bad this fine band ended up in the
casualty ward." Indeed!<br />
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For the better part of a decade and a half, Crispy Ambulance was little
more than an afterthought, an obscure corner of the Factory Records
legacy, but at the end of the 1990s, with post-punk quickly coming
back into vogue, the Crispies quite unexpectedly re-materialized. Alan Hempsall: "We
reformed in 1999 because our back catalogue was to be re-released on CD
so we thought it would be good to promote it and also fun. The reaction
surprised us and a lot of people started to say why not write some new
stuff [....] none of it was planned; it just happened by accident."
Initially recording and releasing the live <i>Accessory After the Fact</i>, the real fruit of the Crispies reunion would appear a few years later in the form of their long-belated second studio album, <i>Scissorgun</i>,
produced by Graham Massey of 808 State fame, which finds the band in
brilliant early-1980s form, if not showing slightly more polish
around the edges. Hempsall: "I'm not sure a seventeen year layoff preserves your
anger. I certainly found it tempting to do something a little more laid
back but that definitely wouldn't be in our true style. At first I found
it quite hard to work myself up for that but it gets easier [....]
Everybody who knows our music seems to be of the opinion that it seems
like we're picking up exactly where we left off and whilst that wasn't
deliberate on our part it's something I'm very pleased about." When
listening to <i>Scissorgun</i>, it is impossible not to marvel at how
fresh and dynamic the Crispies' brand of post-punk sounds twenty years
after the fact, and if anything, they highlight how facile most of the
revivalists actually are in comparison. Songs such as "Loupgarou" and
"Re-Animator" continue the band's unique ability to employ sonic
textures in ominously ironic ways. And this points to what always made
Crispy Ambulance a unique band. Never one to take themselves as
seriously as Ian Curtis & co., they, nevertheless, exploited their
looser approach to similarly dark ends, but in the case of the Crispies,
darkness always came with a dose of humor.<br />
<a name='more'></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSeNnyq4Z3vexYmm3yB0IiXURPOha03_xAvlADptLYYwx5BB_kmfdtL5mplcd-VAd66eYFg4ohxmDMMLMu9FZg-dQTXOxLpN68dzinz_h2CQFz-8GKk3yVnCgmXhSvjz87fS1SQzAcVl7c/s1600/crispyfin.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSeNnyq4Z3vexYmm3yB0IiXURPOha03_xAvlADptLYYwx5BB_kmfdtL5mplcd-VAd66eYFg4ohxmDMMLMu9FZg-dQTXOxLpN68dzinz_h2CQFz-8GKk3yVnCgmXhSvjz87fS1SQzAcVl7c/s400/crispyfin.jpeg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<i>Fin</i> (1985/1990)</div>
<div style="text-align: left;">
1. Rainforest Ritual</div>
<div style="text-align: left;">
2. <a href="http://www.youtube.com/watch?v=znEM_8JKDd4">United</a></div>
<div style="text-align: left;">
3. Choral</div>
<div style="text-align: left;">
4. Green Light / White Shirt</div>
<div style="text-align: left;">
5. Brutal</div>
<div style="text-align: left;">
6. The Plateau Phase</div>
<div style="text-align: left;">
7. Nightfall Ends the Ceasefire</div>
<div style="text-align: left;">
8. Bardo Plane</div>
<div style="text-align: left;">
9. At the Sound of the Klaxon</div>
<div style="text-align: left;">
10. Chill </div>
<div style="text-align: left;">
11. <span class="track_title" itemprop="name">I Talking / You Talking (Parts 1 & 2) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">12. Lucifer Rising</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">13. </span><span class="track_title" itemprop="name">Black Death (Life Is Knife) </span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">14. </span><span class="track_title" itemprop="name">From the Cradle to the Grave</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">15. </span><a href="http://www.youtube.com/watch?v=91PLoTXNUtE"><span class="track_title" itemprop="name">Four Minutes from the Frontline</span></a></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Crispy-Ambulance-Fin/master/58782"><span class="track_title" itemprop="name">Release History</span></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span class="track_title" itemprop="name">Links in Comments</span></div>
<div style="text-align: center;">
<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<i>Scissorgun</i> (2002)</div>
<div class="separator" style="clear: both; text-align: left;">
1. Step Up!</div>
<div class="separator" style="clear: both; text-align: left;">
2. Loupgarou</div>
<div class="separator" style="clear: both; text-align: left;">
3. Metal Grey</div>
<div class="separator" style="clear: both; text-align: left;">
4. Re-Animator</div>
<div class="separator" style="clear: both; text-align: left;">
5. Heatwave</div>
<div class="separator" style="clear: both; text-align: left;">
6. Parallax</div>
<div class="separator" style="clear: both; text-align: left;">
7. The Drop</div>
<div class="separator" style="clear: both; text-align: left;">
8. End Game</div>
<div class="separator" style="clear: both; text-align: left;">
9. <span class="track_title" itemprop="name">Even Now, in Heaven There Are Angels Carrying Savage Weapons </span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="track_title" itemprop="name">10. Sound Block </span></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="track_title" itemprop="name"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.discogs.com/Crispy-Ambulance-Scissorgun/release/1625220"><span class="track_title" itemprop="name">Release History</span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="track_title" itemprop="name"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="track_title" itemprop="name">Links in Comments</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="track_title" itemprop="name"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXCPFVGd-N1UQsCFAJlkjO4C-EcdvHzNqABjRtI2PCca0X4iqD22Xdl_pUIXoFtu8Aq-84FXU_7CIkkBaajtVaNmA_ef32iWyHbtVVIl4xvGZF6B3d7f6-uu-jtnCFOJL32Wqo9WJaS4Wo/s1600/CrispyAmbulance-ThePowderBlindDream-UK-CD-A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXCPFVGd-N1UQsCFAJlkjO4C-EcdvHzNqABjRtI2PCca0X4iqD22Xdl_pUIXoFtu8Aq-84FXU_7CIkkBaajtVaNmA_ef32iWyHbtVVIl4xvGZF6B3d7f6-uu-jtnCFOJL32Wqo9WJaS4Wo/s400/CrispyAmbulance-ThePowderBlindDream-UK-CD-A.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="track_title" itemprop="name"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"><i>The Powder Blind Dream </i>(2004)</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 1. <a href="http://www.youtube.com/watch?v=437JhgsOx3c">Quarter Caste</a></span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 2. Triphammer</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 3. Evil Eye</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 4. Protocol</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 5. Any Second Now</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 6. Four Line Whip</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 7. Chimera</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 8. <a href="http://www.youtube.com/watch?v=l40PHowy2Oo">Lucifer Rising</a></span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"> 9. Bad Self</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">10. Houses Sinking</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name">11. Pain & Pleasure</span></div>
<div style="text-align: left;">
<span class="track_title" itemprop="name"><br /></span></div>
<div style="text-align: center;">
<a href="http://www.discogs.com/Crispy-Ambulance-The-Powder-Blind-Dream/release/1625213"><span class="track_title" itemprop="name">Release History</span></a></div>
<div style="text-align: center;">
<span class="track_title" itemprop="name"><br /></span></div>
<div style="text-align: center;">
<span class="track_title" itemprop="name">Links in Comments</span></div>
<div style="text-align: center;">
<span class="track_title" itemprop="name"><br /></span></div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTqRs-kISFK8b82Glg4m_ncJ6QwAFCP_2iojMN5AdWrtRK26qNxFHb6EBuAwT_ZhmC1mjLrnvEEMhBwrps692sCBQDKvhyphenhyphenx0XQb4ZCRf6dMYrceVpPfav1FaidyQCRBuNA-95aUQg3WQ4/s1600/crispyambflyer81.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTqRs-kISFK8b82Glg4m_ncJ6QwAFCP_2iojMN5AdWrtRK26qNxFHb6EBuAwT_ZhmC1mjLrnvEEMhBwrps692sCBQDKvhyphenhyphenx0XQb4ZCRf6dMYrceVpPfav1FaidyQCRBuNA-95aUQg3WQ4/s1600/crispyambflyer81.jpg" /></a></div>
</div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com3tag:blogger.com,1999:blog-8688511993803888519.post-43165615651096025892013-12-25T00:11:00.001-08:002013-12-25T00:11:16.061-08:00William S. Burroughs - "The Junky's Christmas" (2006)<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
Here's a little Christmas elegy for you- after all, we are all, in one way or another, in search of that immaculate fix.<br />
<br />
p.s. I will have some more Crispies for you soon<br />
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="386" src="//www.youtube.com/embed/u6kHN92Yv48" width="515"></iframe></div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-29029770731013827802013-12-21T22:56:00.001-08:002013-12-22T00:26:23.601-08:00Spiritualized - "Do It All Over Again" (2001)<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
This song perfectly captures the inside of my head right about now<br />
</div>
<iframe allowfullscreen="" frameborder="0" height="290" src="//www.youtube.com/embed/ivW_bVUtH9E" width="515"></iframe></div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com5tag:blogger.com,1999:blog-8688511993803888519.post-38680240442290731352013-12-21T00:01:00.000-08:002013-12-21T07:56:23.962-08:00This Is England - Shaun Meets the Skinheads<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
One of my favorite scenes from one of my favorite films....<br />
<br /></div>
<iframe allowfullscreen="" frameborder="0" height="386" src="//www.youtube.com/embed/wS5g3xLCrGo" width="515"></iframe>
</div>
voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com0tag:blogger.com,1999:blog-8688511993803888519.post-61727450840945143842013-12-20T16:51:00.001-08:002013-12-20T23:36:37.257-08:00Tones on Tail - Everything! (1998)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn08XxE9AqJE4j-Gk01ui9jL5V90Sj6vfjWAYpTyoWP1wQGRqePQjaE6KdauaMbAUwO9ie9X2hjj1_HaOZdEK2iR8rk3yfqrOEIOeVADA056zG0mslDOoXiBTmxwQtvPxDt-GDY6tC79zT/s1600/tones3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn08XxE9AqJE4j-Gk01ui9jL5V90Sj6vfjWAYpTyoWP1wQGRqePQjaE6KdauaMbAUwO9ie9X2hjj1_HaOZdEK2iR8rk3yfqrOEIOeVADA056zG0mslDOoXiBTmxwQtvPxDt-GDY6tC79zT/s400/tones3.jpg" width="400" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
When Bauhaus guitarist Daniel Ash began working on an informal
solo-based side project in early 1982, little did he know that within a
year, not only would it evolve into a group project called Tones on
Tail, but it would also become his main gig, as the recording sessions
for Bauhaus' then-swan song, <i>Burning from the Inside</i>, made it
apparent that relations between Peter Murphy and the rest of the band
were quickly deteriorating. After Murphy bolted to work with Mick Karn
on the Dalis Car project
previous to jump-starting his solo career, Ash, along with former art
school buddy and ex-Bauhaus roadie Glenn Campling and Bauhaus drummer
Kevin Haskins, decided to leave behind the overt Gothic theatricality of their
former band, choosing instead to focus on a more eclectic and
experimental sound. Ash: "It was a great time, reaching out to something
different. It was quite liberating after Bauhaus. In the end, we wanted
a different type of music and [Peter Murphy] wanted to go in a more
dance direction." Campling describes the early evolution of the band:
"Dan was working towards a solo project when we lived in 'digs' during
the Bauhaus heydays. I was backline roadie at the time. He was recording
"Instrumental" and another track which became "Copper" (featuring both
of us laughing our heads off- Dan's first vocal maybe?). He invited me
to contribute to an idea which eventually became "A Bigger Splash" and
"Means of Escape." The ball rolled on from there. We both enjoyed the
distraction." </div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRVvaLKyKboOc4h-GtuEyI_AI-O0l_qN8c2CK6kbyVlT_-e8V9_AvXTdPNl8OFfF1RqguPRBz1XXmR5TulkdkA1axDbC37QIPy8p6twaMHb-TT8znaUyKzlFhj2cW52ScwwxaY4-I1w-73/s1600/Tones+On+Tail+-+Live+at+X-Tacy,+Worthing,+30+May+1984++bootleg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRVvaLKyKboOc4h-GtuEyI_AI-O0l_qN8c2CK6kbyVlT_-e8V9_AvXTdPNl8OFfF1RqguPRBz1XXmR5TulkdkA1axDbC37QIPy8p6twaMHb-TT8znaUyKzlFhj2cW52ScwwxaY4-I1w-73/s320/Tones+On+Tail+-+Live+at+X-Tacy,+Worthing,+30+May+1984++bootleg.jpg" width="226" /></a></div>
<div style="text-align: left;">
During Tones on Tail's two-year existence, they recorded
one LP, <i>Pop</i>, and several EPs, all of which garnered critical
praise for their unique and innovative mixture of neo-psych melancholy
(something Ash and Haskins would explore further in Love and Rockets)
with lighter, more dance-oriented elements. For example, on "Lions," the
lead track on <i>Pop</i>, the band establishes a spectral samba effect,
which joins Ash's seductively hushed vocals in creating a fine piece of
moody pop that proves far more accessible than anything Bauhaus would
have committed to tape. Likewise, on "Happiness," with its swinging
cocktail-Jazz arrangement and playfully sarcastic lyrics, Tones on Tail
prove effective at integrating a wide range of influences into a sound
that, while echoing the experimental side of Bauhaus (an extremely
under-appreciated aspect of the band, an example of which is the
brilliant dub effect on "Bela Lugosi's Dead"), clearly stakes out its own territory. Another instantly memorable track is "Performance," one of the darker songs on <i>Pop</i>.
With its cheesy synth-driven opening bars that somehow manage to set up
an atmosphere of dread that pervades the entire song, along with Campling's nervy
bass-lines and Haskins' adventurous percussion, Ash couldn't have asked
for a better back-drop for one of the best, most straightforward vocal
performances of his career. While Tones on Tail has never enjoyed the
popularity or notoriety of Ash's more psychedelically-inclined work in
Love and Rockets, it could be argued that this short-lived band not only
drafted the blueprint for the latter band's sound, but did so while
managing to sound far more experimental and unprecedented. Ash: " We
were a motley crew of individuals who essentially wanted to sound like a
band from Venus or Mars!"</div>
<a name='more'></a><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpQ6lDfg4okTtMBSaNtqXbAmrkrua9jzzGMW0NCicYZjrIyATEcUeGOjEsGNV2YcPNSECQ9Ijn4jELzWH3bL-CIHIJA-x-RAvqmU3z3ccIpYeZFeEVfnxwpZc2CgH8BrOXfQWUjWqmZFxO/s1600/tonesontail.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpQ6lDfg4okTtMBSaNtqXbAmrkrua9jzzGMW0NCicYZjrIyATEcUeGOjEsGNV2YcPNSECQ9Ijn4jELzWH3bL-CIHIJA-x-RAvqmU3z3ccIpYeZFeEVfnxwpZc2CgH8BrOXfQWUjWqmZFxO/s400/tonesontail.jpeg" width="400" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
<i>Everything!</i> (1998)</div>
<div style="text-align: left;">
Disc I- <i>Pop</i></div>
<div style="text-align: left;">
1. <a href="http://www.youtube.com/watch?v=BQWRGKOj6Gk">Lions</a></div>
<div style="text-align: left;">
2. War</div>
<div style="text-align: left;">
3. <a href="http://www.youtube.com/watch?v=Tv6ijy14n4w">Happiness</a></div>
<div style="text-align: left;">
4. The Never Never (Is Forever)</div>
<div style="text-align: left;">
5. Performance</div>
<div style="text-align: left;">
6. Slender Fungus</div>
<div style="text-align: left;">
7. <a href="http://www.youtube.com/watch?v=zZlDas7zJ0o">Movement of Fear</a></div>
<div style="text-align: left;">
8. Real Life</div>
<div style="text-align: left;">
9. <a href="http://www.youtube.com/watch?v=22V-MHQzqpU">Rain</a></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: center;">
Links in Comments<br />
<br /></div>
<div style="text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Disc II- EPs & Previously Unreleased</div>
<div style="text-align: left;">
1. <a href="http://www.youtube.com/watch?v=rzQbRxWqp6k">Go! </a>(Club Mix)</div>
<div style="text-align: left;">
2. Christian Says</div>
<div style="text-align: left;">
3. Twist</div>
<div style="text-align: left;">
4. <a href="http://www.youtube.com/watch?v=8xnUUaFajXw">Burning Skies</a></div>
<div style="text-align: left;">
5. O.K., This Is the Pops </div>
<div style="text-align: left;">
6. You, the Night, and the Music</div>
<div style="text-align: left;">
7. <a href="http://www.youtube.com/watch?v=-wVfVdn06iQ">When You're Smiling</a></div>
<div style="text-align: left;">
8. There's Only One</div>
<div style="text-align: left;">
9. Now We Lustre</div>
<div style="text-align: left;">
10. A Bigger Splash</div>
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11. Copper</div>
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12. Means of Escape</div>
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13. Instrumental</div>
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14. Performance (7" Version)</div>
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15. Shakes</div>
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16. <a href="http://www.youtube.com/watch?v=YNGv4lumNro">Heartbreak Hotel (Live) / Interview with Daniel Ash</a></div>
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<a href="http://www.discogs.com/Tones-On-Tail-Everything/release/202073">Release History</a></div>
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Links in Comments</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhId9xYFFXKuMM6CgUH4XX4_o7fucrFVqBqH5Q1ESDDU1_fKyWcDOgLxUXMOwPMEVCIJKcWh4tnRLuGjX9u9rlbsVUASXiSDpsO_ofZH4QXD-WGDt9LeY-Hb3Vg7u2svuJ_yj4CYpMbgOlK/s1600/tonesontail2CROP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhId9xYFFXKuMM6CgUH4XX4_o7fucrFVqBqH5Q1ESDDU1_fKyWcDOgLxUXMOwPMEVCIJKcWh4tnRLuGjX9u9rlbsVUASXiSDpsO_ofZH4QXD-WGDt9LeY-Hb3Vg7u2svuJ_yj4CYpMbgOlK/s400/tonesontail2CROP.jpg" width="400" /></a></div>
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com6tag:blogger.com,1999:blog-8688511993803888519.post-76308239793604103332013-12-20T01:31:00.004-08:002013-12-20T01:36:02.241-08:00Madness - "One Step Beyond" (1979)<div dir="ltr" style="text-align: left;" trbidi="on">
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This song and "Ghost Town" by The Specials were my introduction to ska so many years back- a sound I love so much, a sound that somehow simultaneously captures the suffering we experience everyday along with those moments of sheer joy at being alive.<br />
<br />
"Hey you! Don't watch that; watch this!"<br />
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voixautrehttp://www.blogger.com/profile/11109534987997144240noreply@blogger.com4