B&S ON SUNDAYS (3)

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From wiki:-

3.. 6.. 9 Seconds of Light was Belle & Sebastian’s third EP, released in 1997 on Jeepster Records.

The lead track on the EP, “A Century of Fakers,” uses the same backing track as “A Century of Elvis” from Lazy Line Painter Jane. Another song, “Songs for Children” (sometimes known as “On the Radio”) plays directly after “Put the Book Back on the Shelf” (on the same track) on both the CD and 12″ versions of this release. The front cover features band member Stuart Murdoch with Victoria Morton.

The EP was later re-packaged as part of the Lazy Line Painter Jane box-set, and all four tracks were collected on the Push Barman to Open Old Wounds compilation. Both NME and Melody Maker made the release their Single of the Week, and the EP became the band’s first to reach the UK top 40 singles chart, peaking at #32.

On-line review from allmusic:-

3.. 6.. 9 Seconds of Light concludes Belle & Sebastian’s streak of three extraordinary EPs in 1997 in grand style, offering four remarkable songs from Stuart Murdoch. “A Century of Fakers” has different lyrics and a melody than Lazy Line Painter Jane’s “A Century of Elvis,” which consisted of the same backing track and a spoken story. “Le Pastie de la Bourgeoisie” is a reverb-drenched song that is the closest the band has ever come to rock, and “Put the Book Back on the Shelf” is a typically lovely slow number, but “Beautiful,” with its graceful, lyrical melody, ranks among Murdoch’s best ballads.

It is true – this was the third extraordinary EP in succession.  The lead track in this instance however, is probably the weakest of the four/five tracks.  Le Pastie….is the standout on this occasion and which to this day still gets a huge ovation whenever it is played live.

Again, this EP came with a short story in the sleevenotes.  This one could be made into a great short film…….

It was a day like today, really warm, when everybody is out of doors, happy to be lying around. Jim had something going. A little project that involved making posters for concerts that would never happen, and record sleeves for records that never existed. He had got up at around six am. Sprung out of bed as if the thought of sleep scared him. The sun was coming directly against the wall just beside his bed. There was a picture of Echo And The Bunnymen. It was very quiet apart from that.

He didn’t wonder what would happen today. He was going to make things happen. He felt like his enthusiasm would rip his heart out of his chest. He worked himself up into a state of excitement. The possibilities of the day were endless. He has nineteen and limber, and the sun sparkled through his tea as it splashed into the cup.

He lined up his various papers and packed them into his bag. He sat at his desk at the window and arrayed his athletes’ breakfast in front of him. He listened to Radio Four for a bit, and then he set to work with his blunted pencil and rub down transfers. He kept what he was trying to say in a straight line by using the edge forged Matriculation Card. As far as the University authorities knew, his name was Arthur Cooke.

Pretty soon, with all pressing matters blissfully set aside, he fell into a reverie the type of which could go on all day if you let it. he gladly let it because it echoed a dream he had once had, and dreams were as close as he ever got to matters spiritual. He had known a girl once who had a tent. They talked about going camping into the country one summer. He was fond of the girl and he was fond of her friend both. Her friend was nice and though studied architecture in another city was around often enough to be in on their plan. When they were around Jim often looked straight at his boots and wondered at the gifts the girls had for their various brainy pursuits. He was a bit ashamed. He was older than them, but was a bit of a flop in the brain department. His reverie involved the tent, the dusk, the smell of hot trainers and not much else. He never managed to the country with them.

Jim woke up again, his plan for the day lying in tatters he thought. It was a quarter past twelve. he had fallen asleep in a pool of sunlight and he had been woken by a ring at his neighbour’s door. He was drowsy and his head full of false literature of dreams and failed schedules. He dressed with not much care. When he flicked on the radio a song was playing that he found unexpected pleasure in. This was very, very lucky. His bag was packed for a quick getaway which was lucky too. So out and over the hill to the busy arcade where he did his photocopying. He was lucky on a day like today that he lived in an area of schools, tenants and flowering cherries. In the winter it was dour, but his one room flat was ok as long as he had outside to step into. He stepped along the street and noticed the heat off the pavement through his black plimsoll boots. He wondered, if he painted them with hot tyre rubber if they would last him till his housing cheque came through.

Jim came to the steps of the arcade. It was cooler for a second or two, but the hotness was replaced by the dry heat of photocopy fans. He waited in the queue of students and small business women, and he felt endless sympathy for the men that worked the machines.

Photocopying was all the rage that year so there was quite a queue of young trendies and h——-s. A man with the forward slanting mother of all pudding bowl haircuts struggled to see what he was doing. His machine was throwing out endless prints of psychedelic swirls. Chatty undergraduate girls warmed to the new craze. Jim wished slightly that he could have beaten the rush. But at least he recognised another boy at the copy shop. He watched in a trance as the boy’s illustration of a cat banging a drum got bigger and bigger.

Soon it was his turn to get on a machine. He was there to make a picture for his room. He had a tiny photography that he kept in a keyring. He had found it in an art college when he was working as a cleaner. It was only a test for a real photograph he thought. He didn’t think they would miss it.

It was a picture of a boy and a girl on a beach. Jim took the picture and put it in the machine. He booted the enlarge up to as far as it would go. He pressed print and the light flashed across the picture. He wondered if it would come out at all but it looked pretty good, about the size of a bank card. He did the same thing twice over. He was pretty excited. The picture was terrific, burnt out and grainy, he thought it didin’t look like real people at all. He felt much better now. He started to look around the little copy shop.

He noticed a paper lying underneath one of the machines. He stooped down to pick it up. It had stuff written on it. He picked it up and started to read.

“Claire and I decided to devise a music workshop for a group of 20 children around the age of five. It could be carried out in a school or in a community centre. Children of this age are still very uninhibited and energetic, which potentially provides teachers or workshop leaders with a vast and unlimited musical scope. The idea of our workshop is to introduce some very simple movements (such as hand-clapping and marching) that will effectively relax and improve the childrens’ overall coordination and concentration. Alongside rhythm, melody and movement, we would also like to draw the childrens’ attention to musical dynamics and tempo. To demonstrate, we will get the children to perform their warm-up and song at varying speeds and volumes. The workshop will finish with a performance of the song.

To introduce the workshop we will begin with a warm- up, lasting about seven minutes. The children should be instructed to form a spacious circle. We will then demonstrate marching and clapping along to a basic 4/4 rhythm. This game can be a lot of fun. Whilst maintaining the clapping and marching along to a beat, individuals take it in turn to create any sound, at any pitch, of any length, with any words. The only restriction to the game being that they can only make their sound when it is their turn, and it must always be the same. They have to remember their own personal sound.”

The report reminded Jim of the time when he was an administrator of the sick and young. He wanted to think about that for a while. He took his thoughts to the cafe nearby.

It was busy with people eating and talking in booths. He got some coffee and watched a man and a girl in the next booth. He thought they had been there for quite a while. There was books and paper scattered on the table, along with debris from cup after cup of coffee. They weren’t aware of him watching. They weren’t aware of anything as the girl was writing, while the boy read a magazine.

A another table, a girl stared solemnly into her cup. Jim wished he could’ve taken her picture. But then he was afraid that he might steal the moment away from her…

mp3 : Belle and Sebastian – A Century Of Fakers
mp3 : Belle and Sebastian – Le Pastie De La Bourgeoisie
mp3 : Belle and Sebastian – Beautiful
mp3 : Belle and Sebastian – Put The Book Back On The Shelf/Songs For Children

The fact that a little know band, with next to no radio play, on a tiny independent radio could take an EP (which retailed for slightly more than a standard single) into the Top 40 of the UK charts was a significant achievement.

 

A LAZY STROLL DOWN MEMORY LANE : 45 45s AT 45 (8)

ORIGINALLY POSTED ON THURSDAY 5 JUNE 2008

(and again on 30 October 2013)

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I came late to The Wedding Present.

I didn’t listen to their early stuff simply because everyone in the press was touting them as the natural successors to the recently disbanded The Smiths, and I just didn’t want to know. I was able to do so, simply because the band got next to no radio play other than late at night, and this was a period of great change in my life when I was never listening to the likes of John Peel.

So, for the best part of four years, my knowledge of the band was restricted to what I read and not what I heard. I do remember being amused that a band from Leeds would release an LP named after the greatest footballer ever to wear the shirt of Manchester United, given the animosity between their fans and those of Leeds United. Still didn’t make me buy it though..

Sometime in 1989, on one Sunday evening, the radio was on as the latest singles chart was being rundown. That was when I first heard a song by The Wedding Present. It was called Kennedy, and it was (as I’ve since discovered from research) a new entry at #33. It was loud, it was frantic, it was joyous and it was something that I immediately fell in love with.

And with that, I became a convert to the church of David Gedge, and I’ve been a faithful member ever since. I’m a regular attendee at the places of worship (ie gigs), and I’ll also contribute as and when required to the coffers (ie records, t-shirts, videos, CDs, etc).

There can’t be all that many indie-bands still going strong 20+ years after their initial formation. OK, so I know that TWP took a short break and turned into Cinerama, and also that for a substantial part of their career they were on major labels such as RCA and Island Records. But you can’t really categorise them as anything other than indie…

There have been 37 singles and 9 original LPs, as well as 15 compilation/live LPs over the years. That must be something in the region of 300 songs – and very few of these, even the most obscure of b-sides, have ever been total duffers.(that was the figure back in 2008….there’s been much to admire over the past 8 years since and the ststement is still valid)

They’re also a band with a love for cover versions, with around 50 or so being widely available now thanks to the relatively recent release of all the Peel Sessions in a boxset. And every one of those covers, whether it’s a pop, soul, blues, rock, country or disco classic sounds instinctively like a Wedding Present original.

But I still don’t think they’ve ever bettered the song that first made my ears prick up and listen. Even now, almost 20 years on it remains a live favourite, although David now always follows it up with a slow-tempo number so that the old folk jumping around down the front get their breath back and avoid the risk of a permanent injury. None of us are as young or fit as we once were, and pogo-ing up and down is, at best, achievable for a maximum of 5 minutes at one stretch.

mp3 : The Wedding Present – Kennedy
mp3 : The Wedding Present – One Day All This Will All Be Yours
mp3 : The Wedding Present – Unfaithful
mp3 : The Wedding Present – It’s Not Unusual *

* Yes, the Tom Jones song…..

All taken from the original 12” release, but also available on the remixed and remastered edition of the 1989 LP Bizzaro.

Incidentally, if this series didn’t have the restriction of one song by one act, there would have been at least another 4 TWP singles right in there…

BONUS POSTING : OCD EPs : #2 : THE SMITHS

A GUEST POSTING FROM DAVE GLICKMAN

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For the second OCD EP, I have chosen The Smiths. Maybe I went a bit overboard with the foreshadowing in the previous installment, but I’ll leave that type of literary analysis to future generations of academics who choose to study the golden age of indie music blogging.

A much more challenging task to narrow things down this time, as over the years, quite a bit of previously unreleased material has been “leaked” on the internet – a couple sets of recordings from the aborted Troy Tate sessions for the debut album, unreleased BBC radio sessions, and various demos, outtakes and alternative versions of songs spanning the lifetime of the band. Everything in my Smiths’ library is generally accessible on the internet, so if you are hoping for A Matter of Opinion or the complete version of I Want a Boy for My Birthday, then I am sorry to disappoint you. For the most part, in what follows, I’ve chosen to focus on what I find interesting, not necessarily most enjoyable or better than the official released versions.

Side One

1. Accept Yourself (Troy Tate alternate vocal and piano version)

In his book “The Songs That Saved Your Life,” Simon Goddard mentions two different versions of Accept Yourself from the Troy Tate debut album sessions. Of this second version we have here, he says:

“…the second version being particularly impressive with its staccato rock ‘n’ roll piano punches during the pre-chorus breakdowns, Morrissey’s doubled vocal and some enlivening falsetto shrieks.”

There is certainly something to the piano work that could have found its way into later versions, but obviously didn’t. As for the alternative vocals, I suspect everyone involved was comfortable moving in a different direction.

2. The Queen Is Dead (original unedited version)

To be consistent with the overall theme of this EP, I should really put the trumpet version of Frankly, Mr. Shankly here. However, while unique, I just don’t find it that interesting a listen. So instead, here is the complete, high octane version of TQID, before the decision was made to trim it down a bit for the album. It’s all the greatness you’ve come to expect from the song, with 17% more free!

Side Two

3. Never Had No One Ever (studio outtake)

It’s not that I don’t like the album version of this song, it’s just that I Know It’s Over is a very tough act to follow. However, when I first heard this version with the extended trumpet solo and Morrissey’s moans and laughing, it was a complete revelation. There was a bluesy lounge song hidden there all this time just waiting to get out. This is one case where I think the alternative version (fully worked up) might actually have worked well in place of the official album track.

4. Sheila Take A Bow (original John Porter version)

I don’t really have anything to add to Analog Loyalist’s notes from when this track originally leaked:

“One of the more famous episodes in Smiths session history, this song was originally produced by John Porter, signed, sealed and delivered, ready to go. Then for whatever reason the band had a rethink, decamped to another studio with Stephen Street, and re-recorded the song (sampling some of Porter’s guitar work in the process, to save time – which miffed Porter, understandably, since they never asked for permission).

This original version is much more jangly, with Porter on emulated sitar, while the final Street take is all T.Rex‘ed out. Marr’s zingy guitars are all over the stereo field and it’s really a wonderful recording. It’s almost as if Porter knew this was the last time he’d be working with the band (it was), so he had Marr lay down 30 times more guitars than normal as a parting gift.”

5. Girlfriend In A Coma (early take)

It’s the Bob Marley version.

Dave

THE £20 CHALLENGE (Week Seven)

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SWC writes…..

This week has been crazy. Exeter has been taken over by Radio 1 and it is bedlam. Badger and I have both been asked to work on the Saturday on site at Powderham Castle. This might sound exciting but it really isn’t. The office where I am sitting, I say office, I mean portacabin, has a view of the back of the urinals from one side and a ‘burrito stall’ from the other. I am not sure which smells worse. The place is over run by people who have never been to a festival or music event before. People who are complaining that you get precisely no change from a tenner from the bar when you order two bottles of pear cider. People who do not normally drink in the afternoon, and in the heat, people who are moaning that there is no big screen TV to watch the rugby.  We also ran out of toilet paper around an hour ago. Its ok – I’ve spied a copy of the Sun which I am reserving for any ‘emergencies’.

And then there is the music. Sigh

Saturday headliners are Mumford and Sons, I’ve seen one of them walking about back here in the ‘enclosure’ wearing a fedora and sporting a beard that looks like he has wrestled a cat and stuck it to his face. They are joined on the bill by the likes of Meghan Traynor (no me neither), Nick Jonas and an act called Sigma who to make matters worse have promised that they will be joined on stage by horse faced professional stupid person Paloma Faith and wanky professional tax dodgers Take That for their brand of watered down pop rave. Its torment. The one saving grace if you can call it that is Jake Bugg, he’s alright, if you like watching a teenager pretend to be Ian McCulloch. Which I do. So there.  Actually his set was pretty good – I watched it later on telly.

The ‘New Music’ tent is marginally better, you do at least get Chrvches, and Tame Impala which should be pretty good and I have scheduled my break in order to watch both. I have also just seen Spring King on the Introducing Stage who were amazing and if you haven’t heard them yet I urge you all to check them out as soon as you can.

mp3 : Spring King – City

To top all this, Badger has just swung by my office – he is one of the lucky ones who has been allowed backstage into the VIP area. He said that it is full of journalists trying to interview Gary Barlow – not that good – but they have flushing toilets, fresh fruit and free water back there. I have a warm bottle of Volvic, a banana that looks like it’s been smuggled anally from the Dominican Republic and a sandwich that looks like it has been trodden on by the crowd on the way back from watching the earlier performance by Sigma and Take That. Anyway, Badger has swung by with this weeks CD.

“I thought you’d be bored so I thought I’d drop this by for you to listen to”.

He’s right I have been bored, so bored that I have just finished counting that there are 73 screws and 19 bolts holding this portacabin together. When the bass from the nearby whirly-gig roundabout throbs the whole places vibrates.

“I got it from the Teignmouth branch of ‘British Heart Foundation’ price £2, I must go, I’m needed to drive Meaghan Traynor to Exeter Airport at four pm.”

This is a true story. Badger drove a pop starlet to the airport on Saturday. He has barely mentioned it.

I open the bag that Badger has left on the desk. It has a note stuck to it which in true Badger style is written in green ink. He does this all the time when he thinks he is being clever. The note reads ‘Another Greatest Hits CD to add to your growing collection’. It is the ‘Best of Blur’. It is the 2xCD set – but in true charity shop style, CD2 appears to be missing. Genius.

The other day I bought Badger’s next CD (from the Rowcroft shop in Totnes) – or I thought I did – it was a copy of the debut album by Rage Against the Machine – only to get it home and find out that it was copied version of the sleeve and inside was an burnt CD of American nu metal fucktards Korn – never has the sound of case crushing underneath wellington boot sounded so refreshing.

I’m not a big Blur fan. However I’ll say this for them, they were incredibly consistent. It is rather ‘Parklife’ heavy for my liking and their best album ‘Modern Life is Rubbish’ is woefully under represented here – with ‘Popscene’ and ‘Chemical World’ omitted but the rubbish ‘For Tomorrow’ included.

The thing that used to annoy me about Blur the most was their singer Damon Albarn – his mockney Cockney Cheeky chappie persona annoyed me to the point of violent swearing. I find ‘Country House’ difficult to listen to – the use of the word ‘Jackanory’ to describe how things are going for instance – its just too fake. I also used to live near a bloke who looked like Damon – and then spent all his time and money on perfecting this – and in the mornings when I left for work I use to see him walking to the train station – and it always put me in a bad mood.

Although today, it is cheese making, mates with Dave Cameron, bassist Alex James that annoys me more – no idea why.

Still, it’s hard to argue with the material that made it to this record. The early not quite shoegaze shine of ‘She’s So High’ the bouncy dance cross over of ‘Girls and Boys’ and the newbie (at the time) ‘Music is My Radar’ to pick three excellent tracks.

mp3 : Blur – She’s So High
mp3 : Blur – Girls And Boys
mp3 : Blur – The Universal
mp3 : Blur – Music Is My Radar

It’s a good album – if you own no Blur albums – its worth checking out, but it’s definitely not good enough to joining my list of Greatest Hits Albums worth buying.

So here is the skinny

Bought from Teignmouth British Heart Foundation

Price £2

Left £7

Weeks left 3

S-WC

AN IMAGINARY COMPILATION ALBUM : #79 : ROD STEWART

A guest posting from George Forsyth

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Put away those prejudices for a few minutes. I’m not going to defend his entire solo musical offerings, or even most of them, but to completely discard Rod Stewart is a catastrophic error of judgment. And I say that having listened to his 1977 album Foot Loose And Fancy Free to see if I could select a track for this ICA.

To ignore Rod Stewart because of, say, Do You Think I’m Sexy, or his cover of You Keep Me Hanging On, would be like dismissing The Fall after listening to Papal Visit (that god-awful load of old crap on the otherwise splendid Room To Live album). Or dismissing U2 because Bono is complete spunktrumpet. No, you dismiss U2 because Bono is a complete spunktrumpet AND because they are total shite.

I suppose you could say this is one of those pretentious cases of “I like his early stuff”, but those early records are, well, they can be described thus: very very good, very very good, outstandingly brilliantly fabulously toptastic, very good, and good. Then comes “what’s he done here?”, followed by “I don’t have that one”and “jesus, Rod, this is a bit shit”, then a much later entry of “I’ve got some money to burn, and that cover version sounds pretty damned good”. Those albums are: An Old Raincoat Won’t Ever Let You Down, Gasoline Alley, Every Picture Tells A Story, Never A Dull Moment, Smiler, Atlantic Crossing, A Night On The Town, Foot Loose And Fancy Free, and When We Were The New Boys.

So there’s plenty of scope for a ten track ICA. By the way, I lied above, I didn’t listen to Foot Loose And Fancy Free all the way through; I made it through side one and almost finished side 2 but by the time I Was Only Joking came on I just couldn’t stand any more. But those first few albums, oh Rod, where did all go wrong????????

Those first two albums have a heavy-ish, blues/rock feel, there’s some splendid slower songs, and of course there’s Ronnie Wood’s guitar-playing. I can distinctly remember who I was with when I purchased these albums – a certain weegie-blogger was with me, in a second-hand record shop near Carlisle station. I’ve no idea why we were there, maybe he knows.

Anyway, I saw those first two Rod albums on one of those double-album packages Rod Stewart The Vintage Years 1969-1970, for £3. Charity Chic purchased a rather splendid album too, for a change, Johnny Cash at San Quentin. I had, a few weeks earlier, purchased One Of The Best Albums Ever made (Every Picture Tells a Story), and had mistakenly thought that it was Rod’s first solo album. When I told a friend I had purchased Rod Stewart’s first solo album he replied “do you like An Old Raincoat, then?” He was met with a quite glaikit look. Not for the first time, and that look certainly gets a lot of use round these parts when I try and converse in the local language (plenty of “nao percebo” and “fale mais devargar, por favour”).

Enough of that. Just listen to these ten fantastic tracks, you really won’t regret it.

1.  An Old Raincoat Won’t Ever Let You Down – track 1 side 2 from that first album. Simply “WOW”. From that pounding bass intro to the wild guitar, this is a fantastic late 60s rock song.

2.  I Wouldn’t Change A Thing – track 2 side 2 from the same album. A heavy rock-almost-prog song, with Lou Reizner guest vocalising (that’s the “Lou” that Rod refers to in the song). Who’s he? He gave the name Aphrodite’s Child to the Greek Prog band, that’s who! He also produced the first two solo Rod Stewart albums. And that’s Keith Emerson organing away.

An Old Raincoat Won’t Ever Let You Down, as I have implied above, really should be on your shelves, it’s great example of late 60s heavy-rock. I have not selected Handbags and Gladrags, for example, because I have restricted myself to two tracks from this album. I should also say the same for track 3 of side 2, Cindy’s Lament, another great heavy-rock song on the album. There’s also………….look, just go and buy the damned album (and of course that means you too, Charity Chic). I’ve also decided to upgrade this album from very very good to It’s Bloody Brilliant.

3.  It’s All Over Now – track 2 side 1 of Gasoline Alley. A near 6-and-a-half minute cover version. Fantastic piano from Ian McLagan, great guitar, great drums, GREAT SCOTLAND YARD this is a great song. What is so encapsulating? It sounds as if they’re all in the studio together, belting this out, and having a really good time doing so.

4.  Country Comforts – track 1 side 2 of the album. That’s Jack Reynolds doing the backing vocal. No idea who he is/was.

The second album, Gasoline Alley, has Stanley Matthews on mandolin. If only it was THAT Stanley Matthews*. But it’s not. And on another day I could easily choose a different two for this ICA. And listening to it right now as I type, this is Another Bloody Brilliant Record.

On to One Of The Ten Best Albums Of All Time. It should be illegal not to own this album. No (inane) comments are needed from me about any of the ten tracks on Every Picture Tells A Story. Here’s two:

5.  I Know I’m Losing You.

6.  Tomorrow Is A Long Time.

In 1972 Rod Stewart released Never A Dull Moment, which has some original compostions and some cover versions.

7.  Lost Paraguayos

8.  Twisting The Night Away – a cover of the Sam Cooke song

Two more tracks to go. The last album for Mercury was Smiler; It’sthe one with that ridiculous tartan cover and a framed photo of Rod wearing a blouse., but don’t let that put you off. It’s an album I like, despite the rather strange cover version of You Make Me Feel Like A Natural Woman, which Rod changes to Man, and it just doesn’t work, which is very unusual for Rod, his covers up until then were first class.

9.  A Hard Road

One more track to go. And it’s from a 1998 album When We Were The Rude Boys. And it’s a cover of an Oasis song. Now, don’t let that put you off, Rod doesn’t try and reproduce that incredibly annoying nasally twangy sneery voice that Mr Gallagher has.

10.  Cigarettes and Alcohol – I’ll take this version over the Oasis one any time.

So an ICA from the “when he was good” era of Rod Stewart, plus one from twenty-plus years later. I almost included his cover of The First Cut Is The Deepest, which carried on Rod’s fine habit of creating great cover versions. But I didn’t.

* There was an English footballer called Stanley Matthews.

George

 

SOMETHING RARE AND LONG DELETED

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Another from the old blog…..and a fine way to kick off the month in which I will at some point turn 53 years of age.

Coliseu Dos Recrios de Lisboa was an official bootleg released by Tindersticks, limited to 2500 copies and sold only via the merchandise on offer at a UK tour in 2002. It is of course nowadays a hard to find album, and you will require to pay a bit more than the £12 it cost back in the day.

Here’s the sleeve notes in their entirety:-

Following the release of “Can our love…” and the soundtrack album “Trouble every day” October 2001 saw us embark on our most ambitious live project to date : touring europe (19 dates) playing each concert with a local string orchestra, meeting on the day, rehearsing in the afternoon and performing with them that evening.

After 10 dates we found ourselves in Berlin without our drummer Al (returning home due to illness). As there was never any question of replacing him we made the daunting decision to continue the tour, rebuilding the set and sound as we went along. The Berlin concert that night was fraught, but by the time we arrived in Lisbon (October 31st, the last night) we had gained something new and unexpected: a turning point that will resonate in our music for years to come.

We would like to thank our section leaders : Lucy, Calina, Rob, Sarah & Andy without whose energy and enthusiasm we would have been floundering. our management : Dave B & Harry and our crew : David, Stewart, Anthony, Mark, Robin & Oscar for holding everything together.

A version of “Running Wild” appears on this recording, it was performed for the first time that night in Berlin and evolved on stage across the next 8 concerts, a “finished” version closes our sixth studio album “Waiting for the Moon”.

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I adore this whole LP. I think many of you will too.

mp3 : Tindersticks – My Autumns Done Come
mp3 : Tindersticks – Dying Slowly
mp3 : Tindersticks – Kathleen
mp3 : Tindersticks – Buried Bones
mp3 : Tindersticks – Desperate Man
mp3 : Tindersticks – Her
mp3 : Tindersticks – She’s Gone
mp3 : Tindersticks – Bathtime
mp3 : Tindersticks – Running Wild
mp3 : Tindersticks – Sleepy Song
mp3 : Tindersticks – El Diablo En El Ojo
mp3 : Tindersticks – Drunk Tank
mp3 : Tindersticks – Raindrops
mp3 : Tindersticks – Cherry Blossoms

Enjoy

A LAZY STROLL DOWN MEMORY LANE : 45 45s AT 45 (9)

ORIGINALLY POSTED ON WEDNESDAY 4 JUNE 2008
(and again on 29 October 2013)

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Dave and The Cat, the two bright lads behind the Jock’n’Roll website came up with the brilliant concept a couple of years back to try to find out what was the best ever Scottish single by asking folk to send in their Top 10s by e-mail.

The idea proved incredibly popular as sad blokes like me sent in lists that made the case for long-forgotten tracks by equally long-forgotten acts. The rules were pretty easy and straightforward – the songs in question had to have been a single and the act had to have been Scottish.

This didn’t stop your humble scribe falling foul of the rules – I was certain that Musette and Drums by The Cocteau Twins had been a single or at the very least part of an EP, and so put it forward within my particular 10. I was completely wrong – it was only ever an LP track, and so I was invited to re-submit.

As for whether an act was Scottish or not, this was entirely down to Dave and The Cat. For instance, Lloyd Cole (born in Derby) was allowed in on the basis that the remainder of the Commotions were Scottish. Rod Stewart (born London) was not allowed in despite most Americans believing he was the most famous Scottish singer on the planet.

Before long, some newspapers and radio stations picked up on what was happening and the boys began to began to be interviewed about things. What seemed to most get the attention of the media was the fact that the song destined to be #1 was wholly unexpected.

I’m not sure if the majority of those who voted in the Jock’n’Roll poll actually chose Party Fears Two as their all time #1 Scottish single. However, I would place a very large wager that maybe as many as 75-80% of voters will have found a spot for it somewhere in their Top 10 thus giving it more than enough votes overall to take the top position.

Click here for the full rundown

There’s just something about Associates and Billy MacKenzie that makes people get all nostalgic and proud that they and he came from Scotland. When the band seemingly burst onto the scene out of nowhere in 1982, it was with songs that were genuinely unlike anything else you had ever heard. Even all these years later, the stuff still sounds incredibly vibrant, fresh and unique, and very difficult to categorise. It’s just so much easier to have a listen to the breakthrough single and its b-side (which is a different version from that on the LP Sulk) :-

mp3 : Associates – Party Fears Two
mp3 : Associates – It’s Better This Way

Billy had a mischievous wit and charm that endeared him to his fans. He always seemed to have a twinkle in his eye whenever he was on TV. This was a band that seemingly wanted to put fun back into pop music without diluting its quality. The appearances on Top Of The Pops soon became must see affairs, culminating in one time where Alan Rankine turned up with a chocolate guitar (£2,000 from Harrods) and broke it up into pieces to give to the audience while Billy and the others mimed away trying to avoid getting a fit of the giggles.

And although the band were based out of necessity in London, Billy in particular seemed to love just taking the piss out the capital and talked lovingly of his home country, and in particular his home city of Dundee.

You couldn’t help but like Alan and Billy as people – the fact that they were making incredible music was an amazing bonus.

Having discovered them via the hit singles, it was easy to see by delving into the back catalogue that the poppy stuff wasn’t typical of the band. Where they went from here was always going to be interesting. Sadly, 1982 with its hit singles and the consequent masterpiece LP was the last Associates work that the duo produced.

Alan chose to leave the band but Billy carried on, drafting in other musicians to work alongside.

It’s all too evident more than 25 years later to realise just how integral Alan was to the sound and look of Associates. There was also a particular chemistry between him and Billy that was never ever recaptured in full, despite an awful lot of the post-Sulk recordings being tremendous pieces of work with some amazing vocals from Billy.

January 2007 was the 10th anniversary of the death of Billy Mackenzie, and I paid a long tribute to the man in the pages of this blog. At the time, I said his legacy is a volume of work that has highs and lows, albeit one that is dominated by that 1982/83 era of Sulk. Even if that had been the only LP he had ever made, Billy would still be a legend in pop music. I stand by that statement……

(That posting, incredibly, was one that I was able to retrieve from the limited archive acess I had at the old blog. I re-posted it in August 2013.  If you would like to read the full tribute, you can click here).

(I later did an equally lengthy piece on Alan but alas it is lost forever thanks to bastard google acting on dmca notices.)

 

THE CINERAMA SINGLES (8)

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Cinerama slipped out an album in April 2001. It contained no new material and simply brought together the two Peel Sessions from 98 and 99 along with the tracks specialy recorded at Peel Acres and for the DJs 60th birthday party in August 1999. It wasn’t however, seen by fans as a cash-in as there was a demand for the acoustic and live versions in particular as they were quite distinct from the studio recordings.

At the same time, a further single was lifted from the previous year’s LP Disco Valente. This time, it was issued on vinyl which was a first for Scopitones, although there was also a CD single too. But it all came with a twist.

Here’s the CD single:-

mp3 : Cinerama – Superman
mp3 : Cinerama – Starry Eyed
mp3 : Cinerama – Yesterday Once More

The release of Superman rectified what had been a bit of an oversight as it had proven to be the most popular track on the album. But it was really just the vehicle for testing the water with what was the most TWP thing in terms of guitars that Cinerama had done so far. Starry Eyed did hark back to an earlier era (and little did we know prove to be a staging post on the way to TWP coming back into being).

The other track was another brave stab at a cover. David Gedge has never been afraid to cite influences which the indie cognoscenti would turn their noses up at throughout his career. In this instance, he took on and delivered one of the biggest hit singles that had been written and recorded by The Carpenters.

There were more surprises for those who bought the 7″:-

mp3 : Cinerama – Superman (version en Espanol)
mp3 : Cinerama – Dura, Rapida Y Hermosa

The sleevenotes were completely in Spanish which I take it was a nod to the fact that the Madrid-based Elefant Records had issued a single back in 1999 when the band had been unable to do so in the UK due to issues with labels.

The a-side is completely in Spanish….I’ll leave it others to determine if its a decent delivery or not. But it sounds a tad forced to me to get the lyrics to fit the tune.

The b-side is a hybrid…..opening with a live partly-stumbled through recording of Hard, Fast and Beautiful from a gig at the Bowery Ballroom in New York City in October 2000, before seamlessly becoming the Spanish language version.

File under obtuse.

B&S ON SUNDAYS (2)

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As I said last week, much of what will appear in this series will be lifted from wiki .

Here’s what it says:-

Lazy Line Painter Jane was Belle & Sebastian’s second EP, released in 1997 on Jeepster Records. The title track features guest vocalist Monica Queen and was recorded in a church hall. “A Century of Elvis” features bassist Stuart David reading out a story he had written, over music by the band. The backing music from that track was later used on “A Century of Fakers” from 3.. 6.. 9 Seconds of Light.

Pretty feeble stuff as this particular EP deserves a lot more praise. Such as this on-line review from allmusic:-

On their second EP of 1997, Belle & Sebastian delve deeper into ’60s pop, developing a richer, fuller sound, not to mention an actual rock & roll edge. “Lazy Line Painter Jane” has a swirling organ and a thick backbeat, as well as guest vocals from Monica Queen, who duets with Stuart Murdoch. Her voice and the organ come as a shock, but “Lazy Line Painter Jane” reveals itself as one of Belle & Sebastian’s best songs. “You Made Me Forget My Dreams” and “Photo Jenny,” two shining examples of the group’s folk-rock, live up to the high standards of the title track, while “A Century of Elvis” has a lovely, lilting instrumental track (it would later be used for “A Century of Fakers”) that supports a pleasantly surreal story by Stuart David.

It is true – the lead track, which comes in at a shade under six minutes, is one the best B&S songs and much of that is down to the vocal contribution from Ms Queen who, by 1997, was a bit of a veteran of the Glasgow music scene as part of the band Thrum who had enjoyed critical acclaim via releases on Fire Records.  Indeed, just about the loudest cheer of the B&S gigs at Glasgow Barrowlands in December 2010 greeted Monica’s surprise appearance on the stage during the encore.

The EP came with a short story in the sleevenotes:-

Lazy Line Painter Jane prayed for an inspiration that would lift her above the mundanity of midday on a Thursday. She was in a hole, sat with egg and chips, watching buses through the plate glass and easy radio of some old cafe. She was too bashful to pray outright in the cafe, so she pretended to read her fortune at the bottom of her tea cup, and she got what she wanted that way.

The inspiration came along quite soon. It was lucky for her. It had seemed impossible, for her to feel ok, considering the trouble she was in. It seemed impossible, considering the gloominess of that lunchtime.

Jane had never managed to build Thursday into the weekend like some other people did. She didn’t look forward to the weekend anyway. The only good thing about the weekend was that it ushered in the following week. She was a slave to the working week. But she was unemployed.

She was doubtful whether she even deserved her Thursday gift. She had done a lot of swearing and shouting during her period. She almost felt guilty to take up the baton and run. But run she did. Straight to the cathedral graveyard. She took her idea straight through the cathedral graves and out, over the wall at the other end. She found herself in the East End of the city.

She took the inspiration and ran. It filled her like a playground balloon. Now she wasn’t treading on any toes. Jane’s agenda was clear. She just felt like running. To forget her joblessness and her hopelessness. Stripped of her present care, her skin was translucent, and she travelled fast and light over grass and stone precincts. She ran past lines of traffic into quiet streets where her breath and fast steps were the only sound she could hear. Stripped of her present care. And her guilt at being lazy.

Jane pretended she was making indie-rock videos as she tore through the East End. She thought herself quite magnificent, and caused only two minor disturbences as she went. She stopped running when she reached the river.

That was lovely. Reaching the river. A sudden wilderness of wasteland and trees. She may have been a bit worried if it wasn’t for the oxygen pumping in her head, acting like a drug. There was a path, dancing with industrial mayflys, constructed with an air of municipal grants. She followed it, ducking under flyovers, flying over traveller’s caravans. She ran past long curves of ash and alder. She ran until she flopped down in a bus shelter. The rain came on. She had run out of rock video fodder.

She waited in the bus shelter for a while. She had reached the main street of a town that was not part of the city at all. She had reached the provinces, and as such, the youth of the town flirted and taunted with an unaffected provincial air. Casuals drank QC. They put on a show for her, but they never challenged her directly. She was grateful they didn?t pick on her strangeness. Her inspiration had flagged, and she didn?t know how she could handle them by herself.

They went away, to be replaced by the town’s thinking girl’s talent. He smoked a regal cigarette, and paced around a little. Jane couldn’t decide if he was waiting for a bus, or if he had just come out because the rain had stopped. But she liked the sound his segs made on the wet pavement. And she admired him for his quiff. It was the biggest quiff that small town beatings would allow for. He sat down in the shelter. He obliged her by staring at her boots, and rubbing his forhead feverishly. He sat for the length of his cigarette and then went off, leaving Painter Jane alone.

She drank up the peace because she knew that she would be back in her house by fall of night. In the city, a dozen things would be vying for her attention simultaneously. She thought it was around six, but in fact it was nearer nine. She pulled her knees close to her chest. Her jogging bottoms smelled of pollen. She waited for the bus to take her back to the city. As she waited, she thought about how she had got her name, and what she was going to do about it.

Quite.

You can see now why the band were accused of being pretentious to the point of annoying. Just as well the music was so good.

mp3 : Belle and Sebastian – Lazy Line Painter Jane
mp3 : Belle and Sebastian – You Made Me Forget My Dreams
mp3 : Belle and Sebastian – Photo Jenny
mp3 : Belle and Sebastian – A Century Of Elvis

The EP almost hit the big time.  It entered the UK charts at #41 on 9 August 1997, dropping down to #70 the following week. And that’s without much radio play to accompany the EP.

A LAZY STROLL DOWN MEMORY LANE : 45 45s AT 45 (10)

All of the Top 10 singles had appeared on the blog before.  I was tempted just to post links back to those postings but having come this far with another look at the 2008 rundown, I thought I’d stick with it.

ORIGINALLY POSTED ON TUESDAY 3 JUNE 2008

(and again on 28 October 2013)

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I spent four years of my life at University at the start of the 80s. I suppose I did what I was supposed to do in that I ended up with a degree that got me into meaningful employment, but I also was able, to use the ad man’s phrase, live life to the max and broaden my horizons in many aspects of life. Including music.

The band that I most associate with those happy days are in the chart at #10.

Friends Again weren’t around for all that long, forming in 1982 and breaking-up in 1984, having released just a handful of singles and one LP, and never making the breakthrough that so many fans and indeed their major record label expected.

I first came across the band when they played a gig at the Students Union at Strathclyde University. I was immediately grabbed by the sound of the band, and in particular the guitar playing of James Grant and the talents of Paul McGeechan on keyboards. And then there was front-man and vocalist Chris Thompson – cool as fuck was the phrase that came to mind, with a vocal style that was a cross between Motherwell and Memphis. Stuart Kerr on drums and Neil Cunningham on bass were a more than half-decent rhythm section too.

Before long, I was tracking down their singles, as indeed seemed to be just about everyone else I socialised with. Their initial single, Honey At The Core, was released on a local label, and sold in more than enough quantities to entice Phonogram Records to offer the band a deal.

Those of us who had seen the band a few times were delighted with the song chosen for the second single, Sunkissed, as it was always the highlight of the live set. It surely wouldn’t be too long before the boys were regulars on Top of The Pops….

But it flopped. As did a third single called State of Art.

All three singles had been more or less produced by the band themselves, and Phonogram decided that it needed to bring in someone who had a track record in the production stakes. So the boys were teamed up with Bob Sargeant who had worked with the likes of The Beat and Haircut 100, and went to work on the debut LP. The label also brought in Tom Verlaine ex-main man of legendary US art-rockers Television to work with the boys, while also allowing them to produce some stuff themselves. It was all a bit of a recipe for disaster as it turns out…

The early singles and the live performances showed Friends Again as a band who could throw in all sorts of music into the mix and sound fresh. There was some jingly-jangly stuff so reminiscent of the Postcard bands, there was a bit of funk/soul, there were more than a fair amount of country/folk songs with acoustic guitars, and of course there was a bunch of hugely dynamic and catch pop-songs that had so enticed the record label.

Sadly, the LP that emerged blinking into the bright sunlight – Trapped and Unwrapped – spectacularly failed to capture all of this. In this case, it is very easy enough to put the blame on the record label. Three of the twelve songs on the LP were vastly inferior re-recordings – Honey At The Core and Sunkissed, as well as Lucky Star (originally the b-side to Honey At The Core). Many of the other songs, loved and adored in the live setting, seemed stripped of their vitality. The acoustic songs were the only ones that escaped unscathed – proof that this was a record that was quite literally, over-produced. There was even a horn section deployed on some of the songs…

There is no doubt the band were bitterly upset at what was foisted on the record-buying public. Two further singles taken directly from the LP also flopped (the highest chart position reached was a very lowly #60), so the label, in desperation, re-released a remixed version of one of the earlier singles. It also flopped.

The band were very obviously despondent about the ways things had turned out – live shows became less dynamic and they seemed to be going through the motions. The buzz surrounding them had also gone, and where venues had once been packed, they were now half-empty.

I was at the last gig that Friends Again played, although I didn’t know it at the time. It was at a very small students’ union at Bell College in Hamilton, a town some 12 miles south-east of Glasgow, and not that far from where the band members had grown up. It was another lacklustre affair, not helped by a lack of chemistry on stage. Here was a band seriously pissed off with life and seemingly with one another. It might even have been the following day that Friends Again broke up…

James Grant and Paul McGeechan quickly went on to form pop/soul act Love and Money , while Stuart Kerr was soon on TOTP as the stickman in the first version of Texas with their massive hit I Don’t Want A Lover. Neil Cunningham went into artiste management.

Chris Thompson to all intent and purposes became a solo act under the name The Bathers, and ploughed a lone furrow akin to the softer side of Friends Again to much critical acclaim but little commercial success. Interestingly enough, when Love and Money also failed to really hit the big-time, James Grant embarked on a solo-career that was based on acoustic folk/country songs…

There are many hundreds if not thousands of bands with a story that is similar to that of Friends Again. They quickly get a local following that is hyped a little, they soon sign a deal with the devil and then are discarded when success isn’t immediate.

For years, the recordings by Friends Again were very difficult to get – it was mostly just vinyl as Trapped and Unwrapped initially had a limited CD release. And if it was available, it tended to be second-hand, or on import and expensive. But back in 2007 it was given a budget re-release, with the bonus that it contained the original recordings of Honey At The Core and Sunkissed instead of the re-recorded versions which means it’s bit easier to get a hold of the song that is #10 in the rundown:-

mp3 : Friends Again – Sunkissed

And for a bit of fun, here’s the b-side and the 12” extended version as well:-

mp3 : Friends Again – Dealing In Silver
mp3 : Friends Again – Sunkissed (12″)

Turns out, that having been more widely available in 2008 when I first put the chart together, the album is once again a bit on the rare side as it is out of print.  Second-hand market is the best way….

 

BONUS POST FOR THE HOLIDAY WEEKEND

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I’ve messed about a bit with some tunes and come up with this:-

mp3 : JC presents – The One Hour Indie Disco

Confession time. It actually lasts 63 mins and 39 seconds, but in my defence, the crowdfilling last tune commences before the hour is up, so everyone’s dancing as the empty and not so empty glasses are cleared from the tables.

I think it works well if you download it and give it the full listen. Equally, you could skip through the songs you don’t like:-

LET’S MAKE THIS PRECIOUS (Dexy’s Midnight Runners)
ASK JOHNNY DEE (Chesterfields)
ONCE IN A LIFETIME (Talking Heads)
WALKABOUT (Sugarcubes)
LENNY VALENTINO (Auteurs)
PING PONG (Stereolab)
TRIPLE TROUBLE (Beastie Boys)
SHADY LANE (Pavement)
HEY LUCIANI (Fall)
LAST OF THE FAMOUS INTERNATIONAL PLAYBOYS (Morrissey)
CRASH (Primitives)
THIS LOVE IS FUCKING RIGHT (Pains Of Being Pure At Heart)
FOXHEADS (Close Lobsters)
IT’S A GAS (Wedding Present)
TAKE THE SKINHEADS BOWLING (Camper Van Beethoven)
BLUE BOY (Orange Juice)
GIGANTIC (Pixies)
LE PASTIE DE LA BOURGEOISIE (Belle & Sebastian)
OBSCURITY KNOCKS (Trashcan Sinatras)
CEREMONY (New Order)

 

THE £20 CHALLENGE (Week Six)

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Tim Badger writes…..

“You are lucky” SWC tells me in the pub as he gives me this weeks CD. “I took my daughter to the zoo the other day and we picked the CD from the Hospicare music shop on the way back”. I didn’t know how this made me lucky so I took a deep breath and asked “Why does that make me lucky?” At this point I haven’t opened the bag, there is a pint of Otter Bright sitting in front of me and that is far more important.

“Well, I gave her three choices, three debut album choices handpicked by me. The first CD was a remastered version of the debut longplayer by Rod Stewart ‘An Old Raincoat Won’t Let You Down’, which features such timeless Rod classics such as ‘Street Fighting Man (not his), Handbags and Gladrags (erm, not his) and ‘Dirty Old Town’ (erm again…)’ . The second was the debut album ‘Much Love’ by long forgotten soul princess Shola Ama – who I have also confused with ex Newcastle show pony Shola Amoebi – both are a bit shit to be honest, its easily done. She had her biggest hit with a cover version of the Turkey Richards staple ‘You Might Need Somebody’ “– he is trying to funny he means Turley Richards obviously.

I take a huge gulp of the Otter and glance at the bag in front of me. I’m hoping that its not Shola Ama – not only for the sake of my ears but for the sake of your ears too. SWC has been looking to up the ante since I let Mrs Badger buy last weeks CD, although she let him off the hook lightly because after she had given him Simon & Garfunkel she revealed to me later that night she nearly bought him his very own copy of ‘Picture Book’ by Simply Red – and was going to annoy him even more by putting it inside a copy of ‘Showbiz’ by Muse. SWC knows Muse quite well or rather his wife does – Mrs SWC went to school with at least two of them and one of their wives and last year they went to a birthday party at a huge castle on Dartmoor that the band had hired for the night. Weirdly he doesn’t really enjoy their music as much as I do. When Muse played a homecoming gig at Teignmouth a few years back, SWC was the most miserable person to have a backstage pass. I have a photo of him chatting to celebrity fat bloke Chris Moyles – or rather Moyles is doing the talking, SWC is doing the ‘Get the fuck away from me look’. To perfection. SWC denied even knowing who he was.

mp3 : Muse – Sober

I’m digressing.

“So what was the third debut album?” I ask him, hoping its not ‘The Party Album’ by the Vengaboys.

“This is why you were lucky. At the zoo we sat in the garden and had a small picnic. Whilst we were there my bag got shat on. By a peacock.”

I get a strange look from the bloke across the pub as I have just sprayed what’s left of my otter over the table – you know when you laugh and drink at the same time and what you were drinking comes out your nose. Well that happened. I recover myself just as SWC is picking up the bag.

Turns out it was a bag his wife bought him for his last birthday. I call it his man bag. Anyway…

“So in my hand I had the debut album by Starsailor….

mp3 : Starsailor – Alcoholic

…….when she saw this’

He handed me the CD. “And said look Daddy ‘Bloody Sodding Peacock’ and it had to be that”. He smiled and laughed. I laughed too as its good to hear that Toddler SWC has as good a grasp of English swearing as her daddy.

Its ‘Expecting to Fly” by The Bluetones. An album which has a peacock spreading its wings on the cover and it’s a rather wonderful choice. Again this was an album that I have heard and have probably owned a copy of on cassette – I certainly recognised all the tracks – but have never actually owned properly.

It has several brilliant tracks on it – here are a collection of them

mp3 : The Bluetones – Bluetonic
mp3 : The Bluetones – Cut Some Rug
mp3 : The Bluetones – Slight Return

And perhaps best of the bunch

mp3 : The Bluetones – Putting Out Fires

Here is the skinny

Bought Hospicare South West Music Shop, Exeter

Price £2

Left £9

Beats Rod Stewart any day of the week. Just.

Tim.

HOW REMISS OF ME NEVER TO HAVE POSTED THIS BEFORE

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I clicked on The Sundays over at the index on the right hand side of t’blog and discovered that each of the previous two postings had featured the rather splendid dreamy-pop song which is Summertime. Can’t believe that I hadn’t mentioned this before:-

mp3 : The Sundays – Can’t Be Sure

As debuts go, it really is up there with the best of them and proved so popular that it was voted #1 in the 1989 Peel Festive 50 and reached #45 in the UK charts which night not seem all that great but was actually a very good position for most singles released on Rough Trade Records. It has the catalogue number RTT 218 if you’re remotely interested.

One of the b-sides also appeared on the debut LP, Reading Writing and Arithmetic:-

mp3 : The Sundays – I Kicked A Boy

But there’s a real gem tucked away on the 12″. It sounds as if Harriet Wheeler is being backed by messrs Joyce, Marr and Rourke…..

mp3 : The Sundays – Don’t Tell Your Mother

Bloody marvellous.

AN IMAGINARY COMPILATION ALBUM : #78 : THE FACES

A guest posting from George Forsyth

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The Faces made four albums and one live album. Plenty to choose from for a ten-track ICA. Even discarding that live album (Coast to Coast, not very good).

The first album, First Step, seems to get some quite unfavourable reviews, and of course this is entirely wrong. There’s elements of early heavy-metal in there, a legacy I suppose of Rod Stewart’s time with the Jeff Beck Group (whose album Truth is remarkably similar to that first Led Zeppelin album), and you can hear that on one of the tracks below (Flying). There’s some great slide-guitar playing from Ronnie Wood (on “Stone”), and one of those knock-about-good-time-rock songs (“Three button hand me down) which I suspect is the kind of song that most associate with The Faces, and a sound that came to the fore in the last two albums (A Nod’s As Good As A wink.… and Ooh La La).

The second album, Long Player, is in the same as First Step, then came A Nod’s As Good As A Wink To A Blind Horse, followed by Ooh La La. One track below is one of those examples where a cover version is better than the original. At the same time as the Faces were making these records, of course, Rod Stewart was pursuing his own solo career and releasing some belting albums, which featured the rest of The Faces as backing musicians on some of the tracks.

Someone (i’m sure some of you will know to whom I refer) once said to me, when we were inspecting a friend of mine’s collection of 7-inch singles that had been entrusted to me whilst said friend was living in a retreat, that it was the most fun he’d had whilst keeping his clothes on. I’d like to say that spending a few hours in my Music Room listening to The Faces comes second to that, but it would not be true. Another thing I noticed in my hours of solitude, albeit a very noisy one, was Ronnie Wood’s guitar-playing, it has much more prominence than it does on all those rubbish Rolling Stones records of which he’s been a part.

The Faces have never had one of those reunion tours, but an incarnation of them has played a couple of concerts (2010 &2011). With Mick Hucknall doing the vocals. I’ll leave it you to supply your own list of expletives.

So here’s ten tracks, and as Judge Judy frequently says “PUT YOUR LISTENING EARS ON!”

1. Three Button Hand Me Down – from the first album First Step, and what might be seen as that trademark Faces sound

2. Stone – from First Step, with I think Ronnie Laine on lead vocals

3. Flying – from First Step, an early heavy metal track(?), and a great guitar riff. Toptastic track.

4. Bad ‘n’ Ruin – from Long Player, the second album, and a track that has a great opening line (Mother don’t you recognise your son). And another great riff.

5. On The Beach – from Long Player. This sounds as if it could be on Exile On Main Street. Well, I think it does. And more fine slide guitar from Ronnie Wood.

6. Maybe I’m Amazed – a live track from a BBC concert. And one written by Paul McCartney, and this is better than his version. There’s also a live version on the Long Player album.

7. Miss Judy’s Farm – track 1 from the third album A Nod’s As Good As A Wink To A Blind Horse. I did not want to include this here, I suppose everyone knows it, but it’s sucha great song, that opening is so strong, it just had to be on the ICA.

8. That’s All You Need – last track from As Nod’s As Good As A Wink.

A Nod’s As Good As A Wink is a splendid album, a fine early 1970s rock album, and one of those albums you should never tire of putting on. On another occasion I could easily have chosen two different tracks from it. Of course, rather perversely, I’ve put, in effect, three tracks from the preceding two albums on this ICA

9. Fly In The Ointment – from Ooh La La

10. If I’m On The Late Side – from Ooh La La

As I said at the top, there’s only four studio albums, and I bet you can get them AND get change from a £20 note, so don’t waste money on a Best Of collection, just get the lot. And if anyone out there has that 4CD set Five Guys Walk Into A Bar that was released about ten years ago, and is tired of living, just send it to me.

George

OCD EPs : #1 : FATHER SCULPTOR (re-post with fixed links)

A GUEST POSTING (AND IDEA!!) FROM DAVE GLICKMAN

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The Background…..

And then one day, you just have to have it all…

I don’t know about you, but every once in a while I come across a band where I eventually decide that I have to get my hands on everything they ever recorded. It usually starts innocently enough – one album purchased on iTunes or a couple of songs downloaded from my favorite indie music blog. Perhaps I’ll find a b-side collection on a fan site and pick out a few favorites or come across a video of a particularly stellar radio or television broadcast. And then suddenly, the obsession kicks in. What else in their catalog is still purchasable? Where can I find the best quality rips of those broadcasts? And, by god, why didn’t I download all those b-sides when I had the chance?

Maybe this sounds all too familiar to you or perhaps I’m just sharing my own personal demons. Collecting anything, after all, must be a mild form of psychological illness, albeit a rather benign one. I take solace in the fact that when bit by the bug, I tend not to be a full “completist”, limiting myself to studio tracks, outtakes, alternative versions, unreleased tracks, compilation contributions, tour disks and broadcasts. Knowing that there is a place on the internet where I can get my hands on bootlegs of every Morrissey show is good enough for me; I don’t need to have each and every one in my personal library.

With all this in mind and in the spirit of T(n)VV’s ICAs, I thought I might propose a corollary concept: OCD EP’s are short collections of the best or most interesting obscure, off the beaten track songs that only the most ardent, and dare I say obsessed, fans might be familiar with and have in their libraries. I have in mind a few of these EPs from my own collection, which is where I found the courage to title this piece as number 1 in a series (number 2 is forthcoming, but I make no promises after that). I have no expectations that others will join in as has been the case with the ICAs, but please feel free to contribute your own if so inclined. Guidelines of your own choosing of course, though these were my thoughts as I put together the first one:

• It’s an EP, not an album. So 4-6 tracks max and no hidden tracks.

• No album tracks, a-sides or anything easily purchasable at a digital music store.

• Not so sure about b-sides. I suppose if they are very obscure and hard to find they could be worthy inclusions. But, just for example, The Smith’s “These Things Take Time” would hardly qualify.

• Focus on songs that even the average fan of the band might not be familiar with – unreleased tracks and sessions, outtakes and alternate versions and otherwise obscure or difficult to access songs.

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As I’ve mentioned before, this blog has played a major role in reconnecting me with the indie music scene, filling in the gaps during the years that I was focused on other things and introducing me to new music. So, let’s start with a group that I never would have heard of were it not for JC’s promotion – Father Sculptor. One advantage of choosing a more recent band is that there is only a limited catalog of tracks to find; the counter-balancing downside being the lack of other collectors and established fan sites on which to find them. In this particular case, there isn’t likely much new to discover, as it seems that after just a couple of years, the band disappeared from the scene. I have no background or insight into what happened to them other than noticing that their website and social media presence is no more. Perhaps our host, who seems to have had some relationship with them in the past, can share some additional information?

To my knowledge, during their short lifespan, Father Sculptor released only two EPs – Vi, which collected a series of singles that had previously been made available as free downloads from their site, and Faith & Violence. Stand out tracks for me included Aristide, Frances and Swallowed in Dreams. Beyond the EPs, my library contains a radio edit of one of the Faith & Violence tracks that was posted on this blog a while back and five other songs that I found in various corners of the internet (which may or may not be by the band – more on that later). No tough decisions this time, as these five tracks, listed chronologically, comprise my Father Sculptor OCD EP:

Side One

1. Velvet Fall (2011)

On their website, Father Sculptor had artwork posted for what appeared to be their first single, Velvet Fall/Two of Swords (demo). However, it seemed that the tracks were never made available for download from the site or for purchase anywhere else. My guess is that the single was never released. Searching the web for “father sculptor velvet fall” brought up nothing relevant, however, one day a couple of years back I did find a “Velvet Fall” video on a relatively obscure site with no mention of the band name (I can’t find that video today).

Is it this Father Sculptor debut single? I can’t say for sure, but it certainly sounds like it could be. While not as good as the tracks on Vi, it is certainly listenable.

2. Two of Swords (demo) (2011)

The video for Two of Swords (demo) is quite easy to find and clearly labeled as a Father Sculptor song. In contrast to Velvet Fall, this song is excellent and ranks up there with my other favorite tracks from the band. It would have been interesting to see what would have come of it with a full work up in the studio.

Side Two

3. Faith & Violence – Coming Soon (video backing track) (2013)

Prior to the release of Faith & Violence, a promotional video was posted on the Father Sculptor website. It didn’t include any snippets from the new EP, but was instead backed with this short wordless song. Of course the music may or may not be a Father Sculptor composition, but I’m inclined to believe it is until I find out otherwise.

4. Blackshirt (2013)

Not long after the release of Faith & Violence. A video for Blackshirt was posted on the web. Perhaps this was intended to be the follow-up single to the EP or maybe an early peak at a debut LP. There was no way for me to know as only a couple of months later, traces of the band on the web began to disappear. In any case, it is a quite enjoyable song that would have fit comfortably on the preceding EP.

5. Ray (2014)

Naturally I assumed that there would be no more Father Sculptor after 2013. Yet, a year later another video appeared. Ray is an instrumental that I would have to guess was something they were working on at the time that they disappeared but had yet to add vocals to. I quite like it and fairly recently discovered that it bears some resemblance to Intro by The xx.

Dave G

JC adds…..with apologies to Dave.  I totally messed up on the links when it was originally posted.  The songs are now as they should be instead of the same bit of music bring posted three times.

THE CINERAMA SINGLES (7)

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The next release on Scopitones was the album Disco Volante. The fact that The Wedding Present had metamorphosised into Cinerama was seemingly still lost on quite a few folk – my copy of that particular CD has a sticker in the top right hand corner which has the words ‘THE NEW ALBUM BY DAVID GEDGE FROM’ followed by, in type that is twice the size, ‘THE WEDDING PRESENT’.

It’s eleven tracks didn’t include Manhattan while Wow had been re-recorded in an extended form. Lollobrigida was there as was what turned out to be the fourth single of the year in November 2000:-

mp3 : Cinerama – Your Charms

The single version is a little shorter than the album version, dispensing with the opening fifteen seconds or so in which the musicians on flute, cello, violin, trumpet and french horn are warming up in that way they do when you go to a classical concert, opera or ballet. It’s as rich sounding as you’d expect with that amount of instruments involved. And it’s a classic Gedge lyric about falling head over heels.

As ever, two b-sides:-

mp3 : Cinerama – Reel 2, Dialogue 2
mp3 : Cinerama – Girl On A Motorcycle

The former had been aired a year earlier via a Peel Session with its title more than a nod to the fact that many of the songs were really soundtracks for movies being imagined by David Gedge and his bandmates as there’s a co-credit for Simon Cleave on this one.

The latter, is for once, a bit of a throwaway number. I’m guessing it was written and recorded for possible inclusion on the album but didn’t make the cut. It was the first b-side in which the quality noticeably dipped.

Two albums down. Six flop singles and gigs being played to small audiences in venues half the size of those that had hosted TWP. Was it time to rethink things?

COMPLEMENTARY BONUS POSTING : FATHER SCULPTOR

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Dave’s OCD EP (see two posts further up the page…above the  Cinerama effort!!!) has clearly prompted this stroll down memory lane.

It began in February 2011 when I went along to a gig at King Tut’s at the suggestion of Drew (Across The Kitchen Table); there was a huge buzz about a band called Spector and we both wanted to see what the fuss was about. To be honest, they were dull and not worth bothering about.

But we were both taken by the appearance of one of the support bands – Father Sculptor – and in the subsequent review of the gig on the old blog I raved about them. To my total surprise, an e-mail appeared in the Inbox a few days later from the band, not only thanking me for the kind words but telling me they were avid readers of The Vinyl Villain and it had meant a lot to them to get a mention.

Thus began regular exchanges of correspondence – I was usually among the first to get a listen to their new material which they would in due course post online at their website, always without fail giving it very positive mentions on the blog. The bands consited of five young men, all studying in Glasgow, although none were actually from the city. In time, they began to get a wider press with positive write-ups in the NME and The Guardian newspaper, as well as a range of web-based music outlets.

The band scrimped and saved towards their ambition of actually making a physical record instead of merely making things available as downloads and I was thrilled, delighted and honoured when they asked if I could promote a show for them in Glasgow for the launch of what would be a self-financed debut EP on 12″ vinyl.

The gig took place in Stereo on Saturday 13 April 2013. There was a more than decent turnout and the boys played a terrific set. I spent some time with them the following morning during which it hit me that they were on the verge of greatness but there were some things that could easily tear them apart – one being they weren’t a completely cohesive unit and so there were bound to be fall-outs, especially given how young and relatively inexperienced they were; secondly they would soon be facing up to a situation where they were no longer students and the pressure would be on some if not all of them to find employment which would bring its own pressures to bear.

As it turned out, their wasn’t much more after the release of the EP, with Dave’s post earlier pulling the various threads together. There’s many a band out there like Father Sculptor who, having shown great early potential and in their case getting some amazing stuff out there via the internet and on vinyl, don’t get what they fully deserve. I do miss them.

Here’s some of the stuff that came out between 2011 and 2013:-

mp3 : Father Sculptor – Artiside
mp3 : Father Sculptor – Ember
mp3 : Father Sculptor – Blue
mp3 : Father Sculptor – Rhein
mp3 : Father Sculptor – Frances
mp3 : Father Sculptor – Dysmirror
mp3 : Father Sculptor – Lowlands (radio edit)
mp3 : Father Sculptor – The Swim
mp3 : Father Sculptor – Sault

Enjoy

B&S ON SUNDAYS (1)

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Much of what will appear in this new series will be lifted from wiki as I’m reserving the right to have lazy Sundays for a bit. The idea is to feature all the EPs and 45s released over the years by Belle and Sebastian.

It was back in 1996 that debut LP Tigermilk came out, followed just a few months later by If You’re Feeling Sinister. So you had the very unusual circumstances of two albums (albeit one of which was near impossible to get a hold of) and no singles. That changed in May 1997 with the release of the Dog On Wheels EP on Jeepster Records, but as wiki reveals:-

The four recordings on the EP actually pre-date the band’s début album Tigermilk, produced whilst band members Stuart Murdoch and Stuart David were on the Beatbox music course in Glasgow. Murdoch, David and Mick Cooke are the only long-term members to play on the songs. The drums were supplied by David Campbell, whilst Brian Nugent played flute on “String Bean Jean”, and Gerry Campbell, a tutor at Beatbox, provided keyboards on “The State I Am In” and “Belle & Sebastian” as well as lead guitar on “String Bean Jean”.

The sleeve notes also credit Mark McWhirter, Michael Angus and Steve Mackenzie so that means (not for the first time) that wiki gets it wrong!!

Four really good songs.  The lead track has a Latin feel to it, not least the trumpet solo about halfway through;  the second track is an earlier version of what was the opening song on Tigermilk and which to this day is among the most popular of all B&S songs amongst fans; listening now to tracks three and four you can hear their demo nature in contrast to the polished sounds on If You’re Feeling Sinister but given they would never get any other airings via re-recordings they are well worth having.

mp3 : Belle and Sebastian – Dog On Wheels
mp3 : Belle and Sebastian – The State I Am In
mp3 : Belle and Sebastian – String Bean Jean
mp3 : Belle and Sebastian – Belle and Sebastian

The EP did make the UK charts, entering at #59 on 24 May 1997, before dropping out of the Top 75 the following week.

A LAZY STROLL DOWN MEMORY LANE : 45 45s AT 45 (11)

ORIGINALLY POSTED ON FRIDAY 9 MAY 2008

(and featured again in this form on 4 March 2015)

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Is this the song in my self-indulgent rundown that stands out like a sore-thumb?

In terms of a world-wide audience, it’s probably the best-known of all of the 45s (so far). It’s certainly got the most identifiable opening notes (that is unless you get confused with Call It What You Want by Credit To The Nation which sampled the intro).

First time I heard this was as the opening song on a cassette made up by Jacques the Kipper. It was a time when every six weeks or so, we would thrust a tape into each others hands along with set of cryptic clues for each song, and challenge the other, not just to identify the track, but also offer a few observations.

His clue for the opening song was ‘Vodka’. Sheer genius if you ask me…..the boy should have become a copywriter with an advertising agency.

But back to the song…

It’s about as far removed as you could ever imagine from the twee stuff that I listened to so much over the previous decade, and it could almost be classified as the dreaded stadium rock. And yet…

There’s just something very special and outstanding about Smells Like Teen Spirit that is difficult to pinpoint. I can’t argue that it’s anything unlike you’d ever heard before, given that it has a riff that is very similar (some say identical) to More Than A Feeling by 70s soft-rockers Boston. Nor is there a case to be made that the vocals are completely different from other folk given that Kurt Cobain’s style of quiet/shout/quiet/shout was something you heard from Black Francis on many Pixies songs. And yet…

The song did seem to arrive like a bolt out of the blue. Yes, there had been some coverage in the UK music papers about some sort of scene based around the city of Seattle, but how many times before had we read about a scene in Chicago, New York, LA, San Francisco or any other American city that had petered out before it crossed the Atlantic. But then Nirvana came across to the UK to promote Nevermind. There was a live appearance on an early evening chat-show on Channel 4 hosted by Jonathan Ross. He introduced the band who went straight into a heavy-metal riff, and then Kurt took over on a completely indecipherable lyric that was a low-moan or a scream…

In the middle of the tune, he sang the words,Just Because You’re Paranoid Don’t Mean That They’re After You’. Then he started screaming again. The song finished in a flurry of feedback not seen in any TV studio since the heyday of Jesus And Mary Chain, before the drums were kicked over and the band stormed off to muted applause and a bemused chat show host who had his finger in his ear. Jonathan Ross than, in a brilliant piece of improvisation said ‘That was Nirvana – doing a song that none of us were expecting. They’ve asked me to mention that they are available for children’s parties and bar mitzvahs…’

It was a truly astonishing piece of TV, and the most ‘punk’ thing I had seen in years, and I knew right then that Nirvana were the genuine article. (The song they played was Territorial Pissings). It was the sort of thing that won’t happen nowadays as prime-time TV live shows are no longer really live and bands won’t behave in that way for fear of upsetting the label bosses.

Of course it all went badly wrong almost immediately, and the band nowadays seem to be loved and admired more for the dead rock star syndrome rather than anything else. The fact that it all ended before there could be any critical backlash or before they fell out of fashion, means that there are very few reasons why music historians and commentators can ever make critical comments about Nirvana, other than be horrified at some of the copy-cat acts that came in their wake. But that’s just nonsensical – you never read anyone blaming The Beatles for every single four-piece band that’s walked the planet since 1963 do you?

mp3 : Nirvana – Smells Like Teen Spirit
mp3 : Nirvana – Drain You
mp3 : Nirvana – Even In His Youth
mp3 : Nirvana – Aneurysm

I never did get to see the band live on stage. Mrs Villain and myself had tickets for a Glasgow gig that never happened as Kurt Cobain committed suicide shortly beforehand. I immediately went back in for my refund, but Mrs V kept her ticket as a memento. Seems she was the clever one as she could probably get far more than its face value if she was to put it on e-bay…

Oh I’ve  tracked down the Jonathan Ross clip as well. Even if you’re no fan of the band, it’s worth having a look just to see how fresh-faced he was back in 1991. And check out his hair, as well as the ad-libbing (turns out I didn’t repeat it 100% word-for-word, but I wasn’t far off).

Enjoy

AGGRESIVE TRASHY DANCE-POP

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That was one of the descriptions meted out to Hey! Elastica, a short-lived but rather wonderful Edinburgh band from the early 80s who I featured more than a few times over on the old blog before google had its evil way with it.

There was a huge hype about them – visually they were quite stunning, while the sound they mad was tailor-made for radio play. The indie kids and students loved the sound and yet it had the potential to crossover to younger folk more in tune with mainstream pop.  Jacques the Kipper was, like me, rather fond of them as we would discover many years later when we bonded over our tastes in music.

Hey! Elastica signed what I’m led to believe was a rather substantial contract with Virgin Records. Four flop singles and one flop album later, it was all over. October 1982 was the debut single and March 1984 was the LP. Seventeen crazy and wild months that left us with no more than 14 different songs and a load of happy memories for those of us lucky enough to ever catch them live. They could have been and should have been the Scottish B52s.

Here’s each of the singles……………

Debut Single

mp3 : Hey! Elastica – Eat Your Heart Out (12″ version)
mp3 : Hey! Elastica – Clay Hips (First Movement) (12″ version)

Second Single

mp3 : Hey! Elastica – Suck A Little Honey (12″ version)
mp3 : Hey! Elastica – Suck A Little More

Third Single

mp3 : Hey! Elastica – Party Games
mp3 : Hey! Elastica – Elastican Chant No.2

Final Single

mp3 : Hey! Elastica – This Town (12″ version)
mp3 : Hey! Elastica – That Town
mp3 : Hey! Elastica – Twist That Town

The other 8 songs that made it onto the sole LP are available on request….