Archive for the ‘music’ Category

music

Valentine’s Day Special #2 Helen Love – Debbie Loves Joey

By Stefano on February 14th, 2013

A spot of Helen Love on Valentine’s Day. The band, or is it just a singer I never really knew, even has Love in their/her name, making this gem of a song about the pairing of two New York punk icons ever more appropriate.

This is undoubtedly the best description of teenage romantic dreaming in small town Britain ever. Chat up lines don’t get much better than

When she met him she was standing in a pure white light
He said “You like the Sex Pistols,
Have you got a light?”
And all the stars were shining on a perfect Saturday night

Let’s hope they are still together.



music

Valentine’s Day Special #1 – The Ramones – Baby I Love You

By Stefano on February 14th, 2013

I had a friend once (coughs) who was chasing a girl for months. His master plan was to buy this single for her and play it to her on Valentine’s Day.

Needless to say she walked out of the room before Joey had even finished the second verse and he has lived a life of misery and heartache ever since.

Anyhow, here’s to our sadly departed Ramones who left us with this now legendary Top Of The Pops performance. And if you can hear strains of Genesis on this tune here’s why.



music

Classic mellow psych and country from Kontiki Suite

By Stefano on February 13th, 2013

kontiki-suite-2

It is barely February and there has already been a glut of great new albums. Jacco Gardner is on constant rotation here, Foxygen are IMO the most exciting new band in years and then for more mellow moments there’s Kontiki Suite’s On Sunset Lake.

The band from Cumbria (quick q any other bands from Cumbria – could only think of It Bites) has just released a gorgeous power pop/country album in On Sunset lake. For me its gentle harmonies conjure up the spirit of late 60s janglers like The Byrds and Flying Burrito Brothers alongside the much missed Cosmic Rough Riders and the wonderful London based band The See See. Music Man is the best place to start, a gentle slice of whirling psych that builds to a tremendous climax.

The album has just landed on Spotify too.

I had a quick bit of correspondence with Craig Bright from the band – detailed below. And you can also read more about them in the latest issue of the best music mag in the world Shindig.

How did you get started – were there other bands before etc

Each of the 6 of us have been involved in music and other bands for a while. Kontiki Suite originally started as a 3 piece which came together to develop the demos Ben had made over the years. Gradually over time we’ve pieced together the now definitive line up of the band which has been in place for just over a couple of years.

What is so appealing about west coast guitar music?

Melody. Harmony. History. I’m not altogether certain we set out to create music that could so definitively be described as west coast, but we can’t deny our love of that sound and influence it has had on us or the obvious way it comes through in our music. The west coast sounds extends to include various elements such as folk, country and psychedelia, all of which come through heavily in our music, but I guess ultimately we write pop songs, however they are presented.

Who are you influences? What bands do you like?

I’m sure that each person in the band would answer this quite differently, but I guess the two songwriters, Ben and Jonny, would have to have the biggest say in terms of influences. The obvious classic artists such as The Byrds, Neil Young, The Beach Boys, The Beatles, Bob Dylan and Buffalo Springfield. Individually and collectively we like a lot of bands, both old and new. As well as the influences, the obvious lineage through the 50s, 60s and 70s of the likes of Hank Williams, Townes Van Zandt, Nuggets stuff, Gram Parsons and Big Star play a big part, on through the 80s, 90s and more recent times with The Rain Parade, Ride, Teenage Fanclub, Super Furry Animals, The Coral, Spiritualized, Beachwood Sparks, Wilco and The Sadies.

Does coming from The Lakes shape your music at all? There’s a mystical quality about the area – does that channel itself into your music?

The Lakes is a a truly stunning place and its hard not to be inspired by it, consciously or otherwise. It was a conscious effort to try and reflect its eeriness and isolation as well as its beauty. Notwithstanding the weather, we do see a strange connection between the west coast/Laurel Canyon scene and our Lakes surroundings, no matter how tenuous.

There is a bit of a new psych movement at the moment. Are you mates with any of the other bands – who do you admire?

Yes there is. I sometimes struggle to identify true psychedelia in its many forms now, but I hear it in all sorts of great bands who are around at the moment such as Real Estate, War on Drugs, The Go, Beachwood Sparks, My Drug Hell, The Sufis, the irrepressible Olivia Tremor Control (RIP Bill Doss) and Circulatory System who continue to push on into infinity, The Paperhead, Allah-Las, White Fence and Tame Impala.

We would consider ourselves as friends of some truly wonderful bands kicking around right now, including Øyvind Holm’s Deleted Waveform Gatherings and Sugarfoot, The Lucid Dream, The Wellgreen, The Junipers, El Goodo, The See See, The Time & Space Machine, Beaulieu Porch and The Red Sands.

Which track on On Sunset Lake are you most proud of?

We are proud of all of the songs on the album, but probably feel that Music Man and See You In The Morning best encapsulate what we were trying to achieve.

How long was the album in the making?

The album is a culmination of the best songs written during the lifespan of the band to that point, all of which blended nicely together into what we hope is a good, coherent representation of what we are about.

What plans have you got for 2013? Touring? new material?

2013 is going to be a busy year. As well as releasing On Sunset Lake and all that goes with it, we are putting the finishing touches to our second album which could be coming out later this year (like minded labels, please get in touch!). Having learned a lot from recording and mixing On Sunset Lake, all of which we did ourselves, we think that our second album will go one step nearer to fulfilling our vision. Ideally we are looking to play as many shows as we can throughout the year in the UK and Europe although definitive plans have yet to be put in place.

Who is the most under rated band of the 80s/90s?

We would all answer that differently, and I guess it depends whether it means commercially or critically under-rated. I (Craig) could write a list as long as my arm which would probably be topped by the Olivia Tremor Control.

Are you Cotton Mather fans?

Absolutely! You’ve rumbled us. Kontiki is a huge favourite of some members of the band and in the humble opinion of some, Ok then, one member, is one of the finest albums ever put to disc.



music

More great new Psych – Jacco Gardner – Cabinet Of Curiosities review

By Stefano on February 12th, 2013

Jacco+Gardner++video+shootIf you are a regular on these pages you’ll already be familiar with the work of one Jacco Gardner, the Dutch psych whizz kid who last year produced one of those drop dead brilliant, play it to everyone you meet type singles in Clear The Air.

The single perfectly captured late 60s British Baroque Pop in a way that no one has done for decades. Yet it still managed to sound contemporary and, dare I say, digital.

Gardner is now very much at the forefront of the new psych revival which has been bubbling under for ages, went over ground last year with Tame Impala and will go stratospheric this year once BBC 6 Music gets its head around the astonishing Foxygen.

So let’s just say that the expectations for this, Gardner’s debut album, are very high. Fortunately for psych fans everywhere the fella has delivered an album that builds on the promise of that superb single without, to be honest, ever quite eclipsing it.

I should say straight up that this album is not for everyone. There will be a people for whom the oompah beat, fairytale lyrics and Mellotron of the album’s closer The Ballad of Little Jane will send them screaming back to their Stooges albums. But if you like melodic, tuneful, experimental (there are plenty of odd song structures going on here) pop that owes a huge debt to the late 60s start here.

In many ways Gardner has picked up on some less, how shall we say this, fashionable psych influences. Sure you can hear Syd Barrett in Clear The Air and UK band Kaleidoscope could quite easily have recorded Where Will You Go in their Fairfield Parlour guise. But I am also hearing the first Genesis album (check it out it has some great tunes) on several of the tracks and the Mellotron that washes over Help Me out reminds me of The Moody Blues. Gardner is also clearly a huge fan of the always brilliant Fading Yellow series of compilations masterminded by Swedish psych fanatic JJ.

Highlights. Well apart from the singles Clear The Air and Where Will You Go (love that nibbling bass sound) the spacey drone of Puppets Dangling and gentle folky waltz of Lullabye do it for me. There isn’t really a weak moment. Occasionally though the precise nature of most of the tracks (Gardner is obviously a perfectionist) and the very mannered English sounding (for a Dutch fella anyhow) vocals can have you screaming for some explosive drums, powerful grooves and fuzzy guitar to mess things up a little. Maybe next time.

For now though give Cabinet a few listens on Spotify. By the time you have played it three or four times you will be addicted to it. Then get the vinyl!



features, Gallery, music

The British films that inspired The Smiths’ record sleeves

By Stefano on February 11th, 2013

the-smiths-the-complete-picture-originalIt is incredible to think that The Smiths were together for just five short years. In that time they managed to release four official albums, a few compilations of sessions, singles and oddities and of course, a run of some of the most amazing and unique 45s ever.

And one of the things that made The Smiths’ singles and albums so special was there sleeves. Handpicked mostly by Morrissey, they feature a series of cover stars most of whom dated from the late 50s and early 60s, and for Smiths fans they gave an real insight into the singer’s world – who his heroes were and the influences that shaped him.

Some of those cover stars were familiar, like Yootha Joyce, the star of two very successful seventies sit-coms. Others like French actor Jean Marais from Jean Cocteau’s 1949 film Orphée, were a bit more obscure.

Not surprisingly quite a number of the stars featured in British films from the 60s, so I have rounded up those covers and attempted to give a little more information about the films they came from. Most of them are very watchable – a couple of them are classics.

I have added YouTube links to each one. Two of the films are available in a full version on YouTube, the rest are clips and trailers.

Click on for the gallery and links.

What Difference Does It make - The Collector

Picture 7 of 7
Picture 7 of 7

The Terence Stamp cover for What Difference Does It Make is infamous as it was withdrawn not long after its release as Stamp objected to his image being used. It was replaced by Morrissey in a pastiche of the shot in which he swapped Stamp's 's pad with Chloroform for a glass of milk. The Collector is also apparently a film that was not among Morrissey's choices. It was Johnny Marr who in 1985 named The Collector as his favourite film. The film is, well utterly unique. Stamp is perfectly cast as the sinister, yet occasionally tender young man who kidnaps the sweet Samantha Eggar and keeps her in his basement. Which makes it all the more curious how in spite of appearing in some great films Far From The Madding Crowd and Poor Cow come to mind alongside his role in Superman, he never quiet achieved the success of say Michael Caine. Paul Weller is also a fan of the movie and it was an obvious influence on The Jam song The Butterfly Collector. The Collector trailer



music

Your favourite new band – Foxygen: this year’s Tame Impala?

By Stefano on February 8th, 2013

About this time last year Tame Impala’s psych vibes were only familiar to a small-ish band of very cool psych heads. Then came that single, the genius album and world domination, and a BlackBerry ad, followed.

Another psych band who I think might just be about to take off in the same way are LA’s Foxygen. Put simply they are, IMO, the best American band, since oooh The Strokes. Their debut EP, Take the Kids Off Broadway, was fun but their new album which came out a few weeks ago, We Are the 21st Century Ambassadors of Peace & Magic, I do not think will be bettered this year. It really is that exceptional.

Admittedly ace producer Richard Swift has shorn the band of some of their quirkiness, but by making them focus on the songs themselves, and the superbly clever arrangements, he has done them a huge favour.

That isn’t to say you haven’t heard some of the music before. But this is no Oasis style slavish homage to long gone musical era. For me the band’s spiritual forbears are the incredible US psych band The United States of America, a band whose only album drew heavily on all manner of American music – from classical through to gospel and folk – to create what was for the time an astonishingly ambitious record.

And so it is with Foxygen. There’s a whiff of Elvis here, a Dylan touch there. I can also make out snatches of cult acts like The Music Machine (in On Blue Mountain) and The Zombies too. But even if moments of the songs sound familiar the tracks themselves are utterly unique and never ever short of incendiary.

Best tracks? Well all of them. But you have to love the opener In The Darkness for its Magical Mystery Tour era Beatles sunny optimism and Shuggie for its really clever structure and killer chorus. And then there’s No Destruction already infamous for its line – ‘You don’t have be an asshole you are not in Brooklyn any more,’ pay off line. In San Francisco (see above) they have a gorgeous tune that sounds like Syd Barrett fronting Belle & Sebastian.

Also in an era of faceless musicians, frontman Sam France has the swagger, the self-belief and the hair to rival Jacco Gardner as the poster boy for a new generation of psych acts

Just pray that the don’t do a Strokes and piss any momentum they had away by hanging out with models and starring in lame fashion shoots

Foxygen have just played a series of sold out dates in London. I saw them at The Lexington and they are every bit as manic and ambitious live as they are on record.

They will be the biggest psych band of the year, no question, and maybe as huge as Tame Impala were last year. Perhaps what they lack is that annoying killer track for BBC 6 Music to get all over like the Impala’s Elephant. I am sure that will come.

They are back in the UK in June, so make sure you catch them then.

Here are some images from the gig the other night courtesy of Ashley Nissim.

Picture 1 of 6
Picture 1 of 6



music

Joey Ramone’s unlikely record collection. Genesis? Yes? Herman’s Hermits!? Is up for sale

By Stefano on February 8th, 2013

joey-ramonealbums

Joey Ramone’s personal record collection, consisting of 97 records in their original album sleeves, could be yours. Well if you choose to bid for them, that it because they are going under the hammer on February 14th with a final bid date of February 21st.

The records apparently come with a letter signed by Joey’s brother Mickey attesting to the collection’s authenticity.

Which it really does need because there are few real oddities in the collection.

Sure all the records that you’d expect the man who was a prime mover in punk to own are present and correct – so there’s plenty of The Who, T. Rex, Cream, Bob Dylan, Iggy Pop and The Doors.

But the collection also indicates that Ramone, who died in 2001 may have been a closet Prog Rock fan. For the man whose band pretty much never went beyond their four chords and two minutes approach to pop zoned out to the prog noodling of Yes’s Close To the Edge, Emerson, Lake & Palmer’s self-titled collection and Genesis’s early album Nursery Cryme.

There’s a great selection of 60s albums too most notably Herman’s Hermits and The Hollies – who are represented by best ofs, and more obscure acts like Gary Lewis and The Playboys and The Rationals.

Other slightly odd additions include Keith Moon’s solo album, a record of hymns from Pat Boone and the debut from French new waver Plastic Bertrand.

Here’s the full list

68/WRKO (30 Now Goldens) The Allman Brothers Band (At Fillmore East) Paul Anka (Vintage Years 1957–1961) The Beach Boys (20 Golden Greats) The Beau Brummels (The Original Hits) Pat Boone (Greatest Hymns) Jimmy Campbell (Half Baked) CAP-FM (What’s In-Store For You) Cheap Trick (One on One) Alice Cooper (Killer) Cream (Cream) Cream (Live Cream Volume II) The Dave Clark Five (American Tour) The De Franco Family Band (Heartbeat, It’s a Lovebeat) Donovan (Mellow Yellow) The Doors (The Doors) Dwight Twilley Band (Twilley Don’t Mind) Bob Dylan (Greatest Hits Vol. II) Emerson, Lake & Palmer (Emerson, Lake & Palmer) Emitt Rhodes (Emitt Rhodes) John Entwistle (Smash Your Head Against the Wall) Eric Burdon & the Animals (The Twain Shall Meet) David Essex (All the Fun of the Fair) The First Class (The First Class) Flo and Eddie (Moving Targets) Four Rock ’n’ Roll Legends (Live in London) The Four Seasons (2nd Vault of Golden Hits) Marvin Gaye (Let’s Get It On) Genesis (Nursery Cryme) The Grass Roots (Where Were You When I Needed You) The Jimi Hendrix Experience (Are You Experienced) Herman’s Hermits (Best of, Volume II) The Hideouts (Best of) The Hollies (Hollies Live) The Hollywood Stars (The Hollywood Stars) The Human League (Dare) The Human League (Fascination!) Elton John (Goodbye Yellow Brick Road) Elton John (Tumbleweed Connection) The Kinks (Preservation Act 2) KISS (Dressed to Kill) Led Zeppelin (Houses of the Holy) Laura Lee (Women’s Love Rights) Gary Lewis and the Playboys (This Diamond Ring) Ray Manzarek (The Whole Thing Started with Rock & Roll Now It’s Out of Control) The Marvelettes (The Return of The Marvelettes) The McCoys (Human Ball) Mickey and Sylvia (Do It Again) Keith Moon (Two Sides of the Moon) Rick Nelson (In Concert) The Paupers (Magic People) Peter, Paul and Mary (10 Years Together) Tom Petty and the Heartbreakers (Official Live ’Leg) Pezband (Pezband) Pink Fairies (Kings of Oblivion) Gene Pitney (The Gene Pitney Story) Plastic Bertrand (Ca Plane Pour Moi) Iggy Pop (Lust For Life) Pretty Things (The Vintage Years) Lloyd Price (His Big Hits) The Rascals (Once Upon a Dream) The Rascals (See) Raspberries (Raspberries) The Rationals (The Rationals) Lou Reed (Sally Can’t Dance) The Righteous Brothers (Greatest Hits) The Righteous Brothers (The History of The Righteous Brothers) The Searchers (Volume 2) Neil Sedaka (The ’50s & ’60s) The Sensational Alex Harvey Band (Next) Silverhead (16 and Savaged) Carly Simon (No Secrets) Slade (In Flame) Slade (Slade Alive!) Patti Smith Group (Easter) Sonny and Cher (The Two of Us) Billy Squier (Don’t Say No) Status Quo (Live) Cat Stevens (Teaser and the Firecat) Rod Stewart (Every Picture Tells a Story) Rod Stewart (Sing It Again Rod) Sweet (Give Us a Wink) T. Rex (Bolan Boogie) T. Rex (Light of Love) The Temptations (A Song For You) Toots & the Maytals (Funky Kingston) The Tubes (Young and Rich) Ike and Tina Turner (Workin’ Together) The Ventures (The Ventures Play Telstar and the Lonely Bull) Wet Willie (Drippin’ Wet) The Who (Odds & Sods) The Who (Portrait of the Who) Spanky Wilson (Specialty of the House) Yes (Close to the Edge) The Young Rascals (Collections) The Youngbloods (Ride the Wind) The Zombies (Early Days)



features, music

Beatles, Led Zep, Pink Floyd. Ten Classic Albums on YouTube (and not Spotify) and how they got there

By Stefano on February 7th, 2013

beatles-pepper-640-80

Over the past year or so there has been a significant trend of full albums showing up on YouTube. There is invariably no video content – just a still of the artist and the music.

The interesting part is that there are now many classic albums on YouTube a good chunk of which aren’t available on Spotify or other streaming services. So for example if you fancy a bit of Pink Floyd you can hear Dark Side Of The Moon on YouTube from one of many different sources. You won’t find it on Spotify though.

Uploading someone else’s music to YouTube is of course totally illegal (as it is with music videos). However it seems that under YouTube regulations the emphasis is on the copyright holder to take action to pull the music down. And it seems that some record labels (coughs, EMI) are turning a bit of a blind eye.

They may even be on some occasions using YouTube’s ContentID system and its revenue opportunities to enable them to collect a little cash from the adverts that precede the music.

Some companies are playing even stranger games. You can for example listen to Oasis’s The Masterplan on YouTube on your laptop, but it won’t play back on your mobile or iPad.

So why do record companies do this? Maybe they figure that if you are listening to an album on YouTube you may at some point think I’ll go and buy it.

As for newer artists, well YouTube is a huge community and it can help to break an artist. There is a bit of analogy with radio here. Record labels are very keen to get their band’s singles on say BBC 6 Music, but there is a way bigger audience on YouTube.

With Spotify subscribers can take music offline and listen to it on their smartphones etc with YouTube if you want the music to travel with you then you run the risk of running up huge data costs. So you might as well go and buy it.

Some companies are more aggressive than others at taking content down. I was delighted to see The Velvet Underground’s controversial final album Squeeze on YouTube as it is not available digitally anywhere and the record itself is hard to find. However it got taken down after a while. I guess because the only people who might have bought that album would have been trawling used record stores for it and the record company wouldn’t make any money from it.

Anyhow here are ten classic albums that are all available on YouTube, and the last time I looked were not on Spotify. Happy listening. I wonder if they will all be still up in three months time?

Finally one quick footnote. I listened to John Lennon’s Imagine album on YouTube and 1, It really is a great album, much better than I remember it. 2, It is like listening to a vinyl record. There’s no easy fast forwarding or skipping tracks and you know what, I kind of like it.

1 Pink Floyd – Dark Side Of the Moon

2 The Beatles – Sergeant Pepper’s Lonely Heart’s Club Band

3 Led Zeppelin – Physical Graffiti

4 AC/DC Highway to Hell

5 Peter Gabriel 3

6 Oasis – The Masterplan

7 Eagles – Best of

8 Wings – Back To the Egg

9 John Lennon, Plastic Ono Band

10 The Zombies – Odyssey and Oracle



features, music

Scared To Get Happy – British 80s indie box set on its way (and it looks great)

By Stefano on February 6th, 2013

primitives_picnik

There’s some serious excitement at Brandish Towers this morning about the upcoming release of a new compilation of British 80s indie bands called Scared To Get Happy.

And it seems that the compilers at Cherry Red Records must have been working some serious over time for coming in June is a five CD boxed set which features pretty much anyone notable who twanged a guitar in the UK in the 80s. The full running list is below, but it really does sound like a ‘Nuggets’ for British 80s music.

The rules for the compilation is that the releases have to have been on British indie labels by UK bands. So no Go-Betweens (because they were Australian) or Echo And The Bunnymen (as they were on a major label). Pretty much everything else is here including some gems from not just the bigger labels like Creation Records, but also more eclectic ones like the brilliantly bonkers El Records.

And while it is wonderful to see so many of the era’s top bands getting the nod (Primal Scream, Primitives, House of Love etc) it is also great to see a few more obscure acts getting a belated bit of recognition. Step forward The Seers, whose driving psych pop was a big fave of mine at the end of the decade, Blow Up – a mod-style band from Brighton, and not forgetting The Claim, a much under rated Kinks-influenced band from Kent.

Cherry Red have also tried to include tracks that haven’t as yet made it on to other comps too.

So who is missing? Well there’s no Television Personalities or Felt as neither band wanted to to be on the comp. Also I’d loved to have seen Miles Over Matter and Boys Wonder, but neither band released a record on a British indie in the period.

Anyhow it sounds like a formidable collection and Cherry Red has promised it will be lavishly packaged with images, sleeve notes – the full whack. It should cost around £50.

To get the latest news on the comp check out the Facebook page here.

For our round up of under rated British 80s indie bands – go here.

Our top Shoegazers are here.

And here’s a gem from The Claim.

Disc 1:
1. THE WILD SWANS Revolutionary Spirit
2. GIRLS AT OUR BEST Getting Nowhere Fast
3. THE PALE FOUNTAINS (There’s Always) Something On My Mind
4. JOSEF K The Missionary
5. THE MONOCHROME SET Jet Set Junta
6. THE BLUE ORCHIDS Dumb Magician
7. THE MARINE GIRLS Don’t Come Back
8. THE FIRE ENGINES Candy Skin
9. DOLLY MIXTURE Everything And More
10. SCARS All About You
11. THE NIGHTINGALES Paraffin Brain
12. FARMERS BOYS I Think I Need Help
13. JANE It’s A Fine Day
14. PREFAB SPROUT Lions In My Own Garden (Exit Someone)
15. WEEKEND Summerdays
16. THE LINES Nerve Pylon
17. FANTASTIC SOMETHING If She Doesn’t Smile It’ll Rain
18. THE HIGSONS The Lost And The Lonely
19. EVERYTHING BUT THE GIRL Feeling Dizzy *
20. BLACK Human Features
21. STRAWBERRY SWITCHBLADE Trees And Flowers
22. THE DAINTEES Roll On Summertime
23. NICK NICELY 49 Cigars
24. TRIXIE’S BIG RED MOTORBIKE Norman And Narcissus
25. THE CHERRY BOYS Kardomah Café
26. AZTEC CAMERA Oblivious

Disc 2:
1. HURRAH The Sun Shines Here
2. THE PASTELS I Wonder Why
3. PULP Everybody’s Problem
4. GRAB GRAB THE HADDOCK I’m Used Now
5. FRIENDS AGAIN Honey At The Core (Moonboot Version)
6. THE BLUEBELLS Callander Green
7. LLOYD COLE & THE COMMOTIONS Are You Ready To Be Heartbroken (Indie Version)
8. IN EMBRACE This Brilliant Evening
9. MICRODISNEY Dolly
10. THE WOODENTOPS Plenty
11. THE JAZZ BUTCHER Southern Mark Smith
12. THE JASMINE MINKS Where The Traffic Goes
13. THE JUNE BRIDES Every Conversation (Single Version)
14. THE REVOLVING PAINT DREAM In The Afternoon
15. THE SHOP ASSISTANTS All Day Long
16. BIFF BANG POW! The Chocolate Elephant Man
17. JAMES Hymn From A Village
18. THE JESUS & MARY CHAIN Just Like Honey (Demo Oct ‘84)
19. THE LOFT Up The Hill And Down The Slope
20. THAT PETROL EMOTION Keen
21. YEAH YEAH NOH Temple Of Convenience
22. THE WEDDING PRESENT Go Out And Get ‘Em Boy
23. THE BODINES God Bless
24. WE’VE GOT A FUZZBOX AND WE’RE GONNA USE IT XX Sex (Demo)
25. McCARTHY Red Sleeping Beauty
26. THE MIGHTY LEMON DROPS Something Happens

Disc 3:
1. PRIMAL SCREAM Velocity Girl
2. THE PRIMITIVES Thru The Flowers
3. THE BMX BANDITS Sad
4. MIGHTY MIGHTY Is There Anyone Out There?
5. THE SOUP DRAGONS Fair’s Fair
6. THE WOLFHOUNDS Cut The Cake
7. THE CHESTERFIELDS Completely And Utterly
8. THE SERVANTS Transparent
9. THE CLOSE LOBSTERS What Is There To Smile About (Demo)
10. POP WILL EAT ITSELF Sick Little Girl
11. THE RAZORCUTS Big Pink Cake
12. THE WEATHER PROPHETS Almost Prayed
13. JAMIE WEDNESDAY Vote For Love
14. TALULAH GOSH Beatnik Boy
15. THE DENTISTS She Dazzled Me With Basil
16. THE RAILWAY CHILDREN A Gentle Sound
17. THE GROOVE FARM Baby Blue Marine
18. JESSE GARON & THE DESPERADOES The Rain Fell Down
19. ROSEMARY’S CHILDREN (Whatever Happened To) Alice?
20. THE WONDER STUFF A Wonderful Day
21. THIS POISON! Engine Failure
22. THE BRILLIANT CORNERS Delilah Sands
23. 14 ICED BEARS Balloon Song
24. THE HEART THROBS Toy
25. THE ROSEHIPS Room In Your Heart
26. KING OF LUXEMBOURG A Picture Of Dorian Gray

Disc 4:
1. HOUSE OF LOVE Shine On
2. THE DARLING BUDS Shame On You (Native Single Version)
3. THE POOH STICKS Indiepop Ain’t Noise Pollution
4. THE BACHELOR PAD The Albums Of Jack
5. THE SHAMEN Something About You
6. GOL GAPPAS Albert Parker
7. HANGMAN’S BEAUTIFUL DAUGHTERS Love Is Blue
8. WHIRL Heaven Forbid
9. THE BOY HAIRDRESSERS Tidalwave
10. THE FLATMATES Shimmer
11. APPLE BOUTIQUE Love Resistance
12. LAUGH Take Your Time Yeah!
13. GROOVY LITTLE NUMBERS You Make My Head Explode
14. THE WALTONES She Looks Right Through Me
15. YEAH JAZZ Sharon
16. THE CLOUDS Tranquil
17. THE RAW HERBS She’s A Nurse But She’s Alright
18. THE SIDDELEYS My Favourite Wet Wednesday Afternoon
19. RODNEY ALLEN Circle Line
20. THE CORN DOLLIES Be Small Again
21. THE HEPBURNS The World Is
22. BUBBLEGUM SPLASH One Of Those Things
23. THE McTELLS Jesse Man Rae
24. THE CHARLOTTES Are You Happy Now?
25. ANOTHER SUNNY DAY I’m In Love With A Girl Who Doesn’t Know I Exist
26. THE LA’s Son Of A Gun (Demo)

Disc 5:
1. THE STONE ROSES The Hardest Thing In The World
2. THE INSPIRAL CARPETS Keep The Circle Around
3. THE SEA URCHINS Solace
4. CUD Only (A Prawn In Whitby)
5. THE POPGUNS Landslide
6. EAST VILLAGE Strawberry Window
7. THE FANATICS Suburban Love Songs
8. THE MILLTOWN BROTHERS Roses
9. THE ORCHIDS I’ve Got A Habit
10. BRADFORD Skin Storm
11. THE CLAIM Picking Up The Bitter Little Pieces
12. THE POPPYHEADS Pictures You Weave
13. THE SUN AND THE MOON Adam’s Song (Pour Fenella)
14. THE DESERT WOLVES Speak To Me Rochelle
15. THE GOLDEN DAWN My Secret World
16. BLOW UP Forever Holiday
17. KOROVA MILK BAR Do It Again
18. AVO-8 Big Car
19. THE RAIN Dry The Rain
20. THE BOO RADLEYS Catweazle
21. THE SEERS Sun Is In The Sky
22. THE TELESCOPES Perfect Needle
23. THE VASELINES Jesus Don’t Want Me For A Sunbeam



music

Reg Presley tribute – The Troggs try to record a song called Tranquility and end up fighting

By Stefano on February 5th, 2013

Really sad to hear today of the death of one of the 60s most colorful pop stars – and he had some pretty serious competition too – the legendary Reg Presley of The Troggs.

First up what an amazing name. He was actually born Reg Ball but changed it in honour of the great rock and roller. Which is kind of bit like someone today naming themselves Reg Bieber.

Then there are the tunes. Wild Thing is untouchable as a proto grunge garage punk classic and has been the first tune that thousands of teenage bands have mastered. In a funny kind of way then Reg played a big role in getting thousands of young spotty geeks, who wouldn’t otherwise stood a chance, a little attention from the ladies.

I could also mention his odd psych recordings, that seminal hook up with REM and his weirdo obsession with crop circles, which in fact lead him to turn up in an office where I worked in the 90s. Long story.

But best of all is this an audio recoding of The Troggs in the early 70s, long past their salad days, trying to record a song called Tranquility and then almost coming to blows over it. Genius. Trust me you’ll be calling everyone a pranny tomorrow.

Here’s another Troggs classic



features, Gallery, music

Not just My Bloody Valentine – Eight original Shoegazing bands who need reviving

By Stefano on February 5th, 2013

mbvLike most music obsessives from time to time I have wondered what it must have been like to be there at a pivotal moment in music history. You know, like avoiding the sweat dripping off the ceiling while the Fab Four hone their post-Hamburg rock and roll in The Cavern. Or watching the light show and Syd Barrett in psychedelic melt down mode at the UFO. Or even hanging with the art school punks at CBGBs as they watched as Blondie’s pop moves took New York’s indie screen global.

The nearest I ever got to a seismic pop moment was in a small and sweaty basement room bizarrely sited on Oxford Street by Tottenham Court Road tube. For there in 1991, the club, known as the Syndrome, became the meeting place for the main movers of the London wing of British indie, some of whom would go on to create some incredible music.

Energised by both the danceable grooves coming out of Manchester and the visceral punky thrills of grunge jetting in from America’s North West coast, the likes of Blur, Ride, Lush, Moose and many others began to fashion a musical response that kept the energy of punk but , how shall we put this, was a little more cerebral. And the music these middle class punks played (for many of the bands were from the posher parts of London and the South East) became known as shoegazing (after some of the musician’s habits of looking at their feet while messing with effects pedals).

As well as absorbing the primitive, yet arty sounds of bands like Dinosaur Junior and Sonic Youth, the Shoegazers were almost all highly influenced by the feedback drenched howl of My Bloody Valentine. Many bands also kept the melodic obsession of the C86 bands in creating sweet, often catchy tunes that they buried under howls of effects and white noise.

Shoegazing, just like The Syndrome, didn’t last too long, but for a couple of the bands it was a springboard to better things. Sadly though most of them didn’t see the musical tidal wave of Brit Pop coming and the music press quickly lost interest in shy, retiring musicians from Surrey and turned their attention to boisterous Beatles-obsessed northerners. In fact almost all of them were history by the mid -90. Except that is in the US where a couple of bands from a city on the nation’s West coast kept the genre alive.

So with My Bloody Valentine releasing their first album in twenty or so years there is no better time to go back and revisit some of the less well known protagonists of the Shoegazing (a term which not surprisingly almost all the bands associated with it hated) era. There are profiles of eight bands and you can hear them, along with some fellow travellers in the Spotify playlist.

* The most under rated 80s indie bands here

* Under rated British 90s indie bands

The Charlottes

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Picture 1 of 8

One of the earliest shoegazey type bands The Charlottes were massively influenced by both My Bloody Valentine’s creative use of feedback and also the poppy melodies of C86-ers like The Primitives. The debut single Are You Happy Now is a classic of the genre with a female vocalist singing a sweet pop tune that they proceed to bury under an avalanche of guitars, effects and Who style drum fills. They got even better too. Their 1991 album Things Come Apart, which has recently been reissued on vinyl by Optic Nerve Recordings, contains Liar, a glorious thrashy tune which was almost an underground hit in the US and See Me Feel - think The Ramones with effects pedals. Sadly the band split soon after with drummer Simon Scott defecting to Slowdive.



music

Mondo Jet Set – Provincial Drama Club review

By Stefano on February 3rd, 2013

mondo jet setLuke Haines has quite possibly the best Twitter profile description ever. The one time Auteurs and Black Box Recorder man who recently rewrote the history of Britain in the North Sea Scrolls describes himself as being at ‘At the coalface of conceptual rock n roll.’

And mining away next to him in producing melodic pop gems with wonderfully pretentious monikers like ‘I Danced in A Secular Fashion and ‘Everyone I Know Dead Or Fire’ are Mondo Jet Set. And they are good, very good.

Don’t beat yourself up if you haven’t heard of them. The West Country band are very under the radar and seem quite content about it too. Some of the members were in a late sprouting Brit Pop act called Garfield’s Birthday. With Mondo Jet Set they have now issued four albums which have steadily got more ambitious, bizarre and tuneful as the years have gone by.

Their latest, Provincial Drama Club, which came out a week or so ago is their most brilliant, and most baffling yet. It is a collection of 23 songs, the vast majority of which clock in at under two minutes. Even the longer tracks like Caravan/The Slow Arcade are actually two songs spliced together.

The quirkiness and brevity of many of the songs remind me of The Magnetic Fields’ magnificent 69 Love Songs where the band veer from Busby Berkley show tunes to Velvet Underground style punk and then on to cheesy jazz in the space of five minutes. I’d also namecheck the rather brilliant and very hip Foxygen as fellow travellers too in the way that the LA band’s tracks are so packed with unexpected twists and turns.

Provincial Drama Club is slightly less exotic than 69 Love Songs – the key influences here are The Kinks, early Blur B sides and occasionally the harmonies of the Wilson Brothers – but  is still a disconcerting listening experience.

Yet like 69 Love Songs, which took me about 10 plays before finally getting under its skin, stick with Provincial Drama Club and  pretty soon you’ll be so addicted to it you’ll wish there were even more songs to hear.

There really are so many highlights here from the instant pop blast of ‘Everyone I Know Dead Or Fire’ or the Blur-esuqe (think Bank Holiday type thrashes) ‘Moth Attack.’ Pretty much everything on the album has a a hook or a melody and some odd instrumentation that makes it very memorable.

It does get a little too much at times. Alice – the latter part of John Before The Fire – has a gorgeous Beach Boys’ style melody which you want to hang around for way longer than the one minute that MJS give it.

But given the ambition and scope of Provincial Drama Club I can forgive them anything.

And when finally you have exhausted this album – and it has taken me the best part of three months to get in any way remotely tired of it, there is its predecessor Ha, Ha, Ha to explore – an album that for me was the best, ok second best, of 2011. A must buy for anyone who cherishes quirky English pop.

 



Books, features, music, Style

Is this the last word on Mod? Richard Weight’s MOD: A Very British Style on its way

By Stefano on January 30th, 2013

mod_weightAnd yes that cover looks great too. The images were taken by ace photographer Dean Chalkley who has lots of images of contemporary mods (and a film too – see the bottom of the page) on his site here.

Anyway back to the book. There have been plenty of Mod books before, but this looks like being a fairly definitive one for a number of reasons.

Firstly, it looks like it is going to properly tackle Mod history and its greater influence on popular culture in a way that other books haven’t. It is a moot point, for example, whether the real inheritors of the Mod tradition in the 1980s were the Acid House mob at the end of the decade (they took pills and danced all night), the C86ers (they had the bowl cuts and loved the 60s music) or the Casuals (whose clothes were more in keeping with traditional sharp mod values and tended to be more working class like the original Mods).

Without pre-guessing what Weight is going to write in his book I think he will make the case that Mod influenced them all. And that’s a story that hasn’t really been written in any depth.

Besides the Mod movement is very diverse at the moment – as this ‘What Type of Mod are you?’ post illustrates.

The  second reason why the book looks great is that Richard Weight is a very accomplished author. I read his Patriots book over a decade ago, and although I don’t remember too much about it now, I recall being impressed by both the depth of his research, and also the way he wasn’t afraid to fire off his opinions. The book looks at national identity in Britain between 1940 and 2000 and the decline of British-ness in favour of stronger associations of  being English, Welsh, Scottish and Northern Irish. It really needs an update too and I’d be fascinated to read his views on the way that The Olympics, the popularity of The Monarchy and immigration have all fueled a revival of Britishness. Yet at the same time we could be just years away from Scotland leaving the Union.

In many ways too there hasn’t been a better time for the Mod book. Bradley Wiggins is still everywhere, heritage brands like Ben Sherman and Fred Perry are back in the limelight and there are plenty of bands who are creating music that has 60s influences at their heart.

The Who touring Quadrophenia a few months after the book launch should help too.

Anyhow, I am very excited by the book’s arrival and if you want to know more here’s the blurb from the publishers.

It is published at the end of March and will cost £25 for a hardback edition.

Welcome to the world of the sharp-suited ‘faces’. The Italianistas. The scooter-riding, all-night-dancing instigators of what became, from its myriad sources, a very British phenomenon.

Mod began life as the quintessential working-class movement of a newly affluent nation – a uniquely British amalgam of American music and European fashions that mixed modern jazz with modernist design in an attempt to escape the drab conformity, snobbery and prudery of life in 1950s Britain. But what started as a popular cult became a mainstream culture, and a style became a revolution.

In Mod, Richard Weight tells the story of Britain’s biggest and most influential youth cult. He charts the origins of Mod in the Soho jazz scene of the 1950s, set to the cool sounds of Charlie Parker and Miles Davis. He explores Mod’s heyday in Swinging London in the mid-60s – to a new soundtrack courtesy of the Small Faces, the Who and the Kinks. He takes us to the Mod-Rocker riots at Margate and Brighton, and into the world of fashion and design dominated by Twiggy, Mary Quant and Terence Conran.

But Mod did not end in the 1960s. Richard Weight not only brings us up to the cult’s revival in the late 70s – played out against its own soundtrack of Quadrophenia and the Jam – but reveals Mod to be the DNA of British youth culture, leaving its mark on glam and Northern Soul, punk and Two Tone, Britpop and rave.

This is the story of Britain’s biggest and brassiest youth movement – and of its legacy. Music, film, fashion, art, architecture and design – nothing was untouched by the eclectic, frenetic, irresistible energy of Mod.



features, Gallery, music

Five sad tales of musicians who went AWOL

By Stefano on January 29th, 2013

up-manicOn February 17th 1995 police found Richey Edwards’ Vauxhall Cavalier abandoned at the Severn View service station. They reported that there was evidence that The Manic Street Preachers’ guitarist had been living in the car.

As for the car’s owner, well nothing has been heard from him since. There have been alleged sightings in Goa and Lanzarote, while there are those believe that he took his own life and jumped off the Severn Bridge. I guess we will never know.

Edwards, however, wasn’t the first rock star who decided that they had had enough of their old life and wanted to start anew. Various members of Fleetwood Mac disappeared in the late 60s and early 70s to be discovered in the cradle of slightly iffy religious groups.

There are others too and I have rounded up five stories of musicians who, for one reason or another, completely disappeared. Some, like Richey, are missing presumed dead, others are just keeping an incredibly low profile while working on that magical next album. Then there’s the tale of Rodriguez, a singer whose life was shrouded in mystery before a film was made retelling his amazing tale.

The other thing about all five is that each of them has created some wonderful music, which in four out of the five cases, deserves to be much better known.

Jim Sullivan - whisked away by aliens?

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Picture 1 of 5

Perhaps the most dramatic tale of a musician going AWOL ever the Jim Sullivan story still intrigues everyone who hears it. The story has an added poignancy as the album that Sullivan released in 1969, UFO, is a special one that has recently been championed by a new wave of folk stars like Laura Marling. Anyway back to the story. In the late 60s Sullivan was a talented singer songwriter in need of a break. He got one when an actor friend of his, Al Dobbs, decided to fund his album. That record, UFO is minor classic - a perfect mix of dusty folk and Gothic country, yet with some strong pop undertones. Dobbs had ensured that only top notch musicians played on the album including several of Phil Spector's legendary Wrecking Crew band of session hacks. It really is quite an astonishing listen. Take Rosey, a delicate, gently picked ballad taken to new heights by pizzicato and then soaring strings. It sounds like the sort of track Lee Hazlewood would have written on a very good day. Most intriguing of all is the title track UFO, where Sullivan shares his obsession with aliens in an eery way that some believe was a psychic prediction of the fate that was soon to befall him. Sadly the album stiffed - it has been reissued by Light In the Arric Records and these days is hailed as a classic of its genre - and Sullivan went back to playing bars and busking for a living. Then in 1975 he decided to leave his wife in California and head eastwards to start a new life a session musician in Nashville. He never got there. His car was found abandoned in the desert while all his possessions were left in his hotel room. The last time he was seen was on the ranch of a family with mafia connections. The case is still unsolved, but there are some folk who believe that the UFO watcher's dream finally came true and he was whisked away by aliens. Others take the view that he may have been murdered and the body never recovered. Either way Sullivan left behind one superb album and an enduring myth which one day really ought to be turned into a film.



features, music

REVIEW: My Bloody Valentine @ Electric Brixton (27/01/13)

By Gerald Lynch on January 28th, 2013

It’s been five years since I last saw My Bloody Valentine live, and I’ve only just managed to recover the last fragments of earplug mined from my brain after surviving their sonic assault at Camden’s Roundhouse back in 2008.

Their 2013 return to the UK sees volume levels remain the same (watching MBV is like picking a fight with a 747 in a wind tunnel and losing, as I tweeted last night), but the setlist is a little different; there’s a new album on the way, more than 21 years since the launch of their seminal Loveless record. And tonight’s gig marks the debut of a few cuts from it.

Kevin Shields and co kick off with new number ‘Rough Song’, and for a band whose signature live attack is dished out with serrated guitars, the presence of a keyboard is a little unnerving. It’s a poppy number that recalls ‘When You Sleep’, suggesting the new album may have a fair whack of tunes as well as ethereal dreamscapes. It brings with it a tease from the usually-silent Shields, mumbling to a persistent heckler that the new album’s release could be as close as “two or three days”. What with Shields’ trademark tardy perfectionism, we wouldn’t start holding our breath just yet, but considering the album was apparently mastered back in December anything is possible.

Anything, that is, than being able to decipher a tune tonight. Even by MBV’s aggressive standards, something’s a bit off. The PA at Electric Brixton is overwhelmed by the band, with vocals (traditionally low in the mix for MBV by default) lost in the squall. You don’t expect subtlety from Shields’ screeching riffs and Debbie Googe’s bass pummelling, but even Shields finds it necessary to cut off ‘To Here Knows When’ halfway through.

At their most aurally-unapologetic however with ‘Feed Me With You Kiss’ and the closing 10 minute white noise endurance test of ‘You Made Me Realise’, the night hits a sadomasochistic state of nirvana, a blissful sonic-sucker punch to see the punters off into the night with a smile on their faces and bloody tissues in their ears.

Here’s a selection of choice Twitter commentary on the gig from last night:

 

 

 

 

 

 

 




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