11/22/14

Melanie - The Creative Workshop Sessions (1975)





















This is one of the most stunning post since the beginning of this blog. Of course, I posted some very rare and precious stuff beforehand, from Alain Kan, Alternative TV, Sensational Alex Harvey Band, Steve Harley, Nikki Sudden, Peter Perrett, Television Personalities and some more, even from Melanie, but it was often some songs when here we got 31 ones. Yes, 31 demos actually, from the sessions she recorded at the famous Creative Workshop studio in Nashville for what would become Sunset and Other Beginnings. A little bit the Melanie's Basement Tapes. The main comment I can do is that it's a shame the selection of songs and the arrangements that were done for the official album were so poor compared to these sessions. I don't know if Peter Schekeryk can be considered the guilty one and it's too late and useless to establish his responsability, but it's a fact that there was in these sessions, enough diamonds to provide the material for a fantastic album when it was (at least for me, I know some Melanie fans don't share my views) uneven and one of her weakest in the seventies. Why such a wonderful song as "White Man Sings The Blues" (sometimes called "White Man's Blues" on various Melanie fans' blogs), although being tried twice on these sessions (both versions being stunning) was not included on the final album? Why the version of "Perceive It" is so moving here and so middle of the road on the album (listen to the different tone Melanie sings it, and the arrangements too)? Even "Nobody's Business" would have been a better choice that several of the songs that made the cut. Another strange discovery is that Melanie and the band rehearsed "Deep Down Low" 3 times on these sessions, an old song featuring on Affectionately, but didn't use it finally. Maybe she did not want to put old material on her new releases, feared to give opportunities to the press to put her in the case of "past celebrities". But it's sad co's the song was wonderfully reworked and would have deserved to be offered this way, much better than its original version. It's on such reworked songs that it was clear that she acquired maturity and a grown up way to share her emotions. It would have been a good idea too to put her nice version of the Seekers song "I'll Never Find Another You" that she makes her so perfectly. We had to wait until 2002 to have a revised version of this song, but it is here still better. Actually, these sessions were so creative that they could have offered a double LP allowing to include everything on it. But limited to one LP only, the choice of songs could have really been more judicious. But what is clear is that Melanie is never better than when she is captured in the most nature way, and this is the case here, some of the songs that were finally heavily (I may have written "evil-y") orchestrated, being at least heard in their stripped version. I can't say who sent me these legendary recordings but she must know I deeply thank her. The cover sleeve I created for this fake double LP may seem a little deceiving compared to some I did in the past for Melanie stuff I posted here, but I wanted to use a picture of her shot during this period of her life (and I hope in 1975) and there was not much that could be the source of a front cover sleeve after being digitally manipulated. And I must confess that I like the result quite well. Strange but I feel it gives the impression it's really a double LP. Enough words, now let the music talks. Hope you'll savour this wonderful collection with the same delight and excitation I have when listening for the first time these sessions. Catch it here.






11/21/14

Tony McPhee - Live in Zielona Gora (2000)



A not re-quested re-up (but I don't care) of an accoustic set Tony McPhee played in a little Polish place. A wonderful selection of blues played by the spiritual son of John Lee Hooker. Perfect to hear on a misty and cold autumn. Sad that he's no more able to sing after his stroke. But he still plays guitar with friends under the Groundhogs name. Our youth is only an old souvenir. And thinking of it, we got the blues. Catch this set here. PS. I'm still very happy of the cover sleeve I created for this live LP.

Recorded in a blues club of a Polish town called Zielona Gora (the pictures I chose for the sleeve I did myself), this is a fine collection of blues played by Tony McPhee in his usual Hookering style. I prefer when he plays with Groundhogs and when he plays his songs but here, the collection is quite sapid and there is a nice accoustic version of "Garden". It's a rather rare recording issued by a Polish label under a really ugly cover sleeve, the reason why I did one myself. The picture is from a Polish photograph called Alcove and I'll very soon post some of his works on Scoptophilia since he is more than talented.



Garden
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11/16/14

Groundhogs - Hogwash Live (1972)

Another Groundhogs re-up. Not that I listen much to the band these days but as you know, I re-up according to requests, and "prince charly" asked me for this live set to be available again thus, although I'm not a royalist, I obeyed. He told me that I did a sort of audacious comparison between Groundhogs and Gang of Four in one post. Maybe it may seem a little bit outrageous, but I mean there was something common in their rough approach of rock. See by yourself here.

This tour was planned at the onset of winter 1972 to support the release of Hogwash, the 6th album of the band. But it was a changed band that the audience watched. First Ken Pustelnik, the original drummer, had been fired since he was really no more manageable due to a strong drug addiction, and then Tony McPhee had integrated more synth than ever in the band sound. A success, in musical terms, since he was able to conserve the rough edge of his style, but creating a great mix between blues and prog. Honestly, nobody reached such a level in quality when adding progressive in their initial style (except Strawbs maybe). So, this concert, recorded by the BBC, was quite different from the others you can find from the band in the 2 previous years. Less hard blues, more.... actually more Groundhogs. I chose to create a new cover sleeve since the official is totally inane (I used it to write the titles, that's all). My image choice is about the obession of McPhee at the time against hunters. And with a hog, it perfectly fits the thing. The title is justified by the fact that they play here 5 from the 8 Hogwash tracks. Enjoy it here. More Groundhogs to come soon, I'm in the mood for it (sad, angry and hunted).



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11/15/14

Groundhogs - Solid Live (1974)

Saw that this post was amongst the most viewed last week so I suppose some were looking for the upload album. I hope this re-up will please them. All I had to say about this concert capture and its compilation from various sources is detailed below. Catch it here.

Some weeks ago, a 3-CD compilation was released with the 3 LPs the band recorded for UA between 1972 and 1976 (Hogwash, Crosscut Saw and Black Diamond) and in which I had the surprise to find songs played at the Playhouse Theatre on the 23rd May 1974 that allowed me to complete the previously released songs from this concert. Thus, I added them to this live LP I had called Solid Live since most of the tracks I had gathered were from Solid, the album the band had released some weeks before the concert. Strangely, Solid was not issued on UA and it's the reason it is not on this 3-CD compilation. This additional songs are what we'd called band classics, with the famous parts 1 and 2 of "Split", "Ship On The Ocean" and "I Love Miss Ogyny" from Hogwash. It's now more than one hour of live music from one of the most abrasive and unclassifiable band of the seventies. And one that still talks to us today (at least to me). Enjoy it here. Below what I wrote in the first post.

Here we find the Groundhogs 2 years after the previous concert posted here. They became bleaker than ever and their Solid album explores the darkest sides of human brain associated with a really oppressive music. The blues is back again but makes a strange bridge between Hendrix and Gang of Four. On stage, in the tour to promote the LP, the band is much more compact and focussed on songs than they were and McPhee's solos are much noiser and less virtuoso than before. Here they play 4 songs from Solid and it's maybe my fave live recording of the band (but some done in 1976 are also great). These tracks were released on a 2-set album issued in 1994 and compiling a 1972 concert (with the old formation) and this one, reunited because recorded for BBC Radio One. But the 15 min version of "Soldier" was not included and could only be found on the remastered CD version of Thanks Christ For The Bomb. Here, I gathered all the available tracks from this concert. If you know other ones I would have missed, thanks to tell in comments, I'd tried to add them. This is really great testimony of the band, playing in 1974 a style that would have surely been more popular in 1977 or in the onset of grunge.


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11/14/14

Melanie - Stoneground Words (1972)







Another re-up, on M this time. Not sure it's a good idea to post this LP since it is sold on various sites and I wouldn' like that it robs Melanie.  Not the album that fulfilled the wait after the gorgeous Gather Me but anyway an album with several great moments. Catch it here.

A reup of this LP after a visitor left a comment to inform me that the link was dead. Note, dear visitor that it's not a badly ripped vinyl version but a real CD one, although I doubt the quality is the best that could be drained from the original master but it's unfortunately often the case with much of the less successful Melanie's material. Hope one day she'll be considered such an important artist that none of her recording will be considered not interesting enough to benefit of a respectful sound treatment. Below what I wrote in the initial post.

This album was planned to be the first of the Melanie new free career since she was now the master of her destiny, via Neighboorhood, the label she created with Peter Shekeryk her husband,, having stopped to be in the Buddha hands, but it would be finally her swansong, only reaching  70 in the US charts and not even charting in the land that made her successful, I mean UK. Why? Surely because there's not the luxury of easy-to-remember tunes that made Gather Me such a classic. But when listening to this album, there were enough goodies to make it a hit LP if only the whole mood hadn't been so sad, nostalgic, introspective, fatalist and in one word, melancholic. And the times were not waiting for such songs. Maybe one year later, it would have been better. Cos' yes, this a much more folk, ballad-oriented and mellow album than Gather Me and even than the previous ones. Some orchestral arrangements are rather gorgeous, but not enough to make the whole album sounding as a sort of must for lovers of such music. Although they are very good songs, "Together Alone" and "Do You Believe" will be released, without success, in singles. Among the highlights, there's "Here I Am" where Melanie shows that she's one of the most moving singers any periods, a Billie Holiday for the seventies (and the next decades). A total gem for Cabaret songs amateurs. But there's enough in this album to make it one of your sonor companion for the rest of your life. Melanie, wherever you are, we love you.


















11/11/14

Kim Fowley- International Heroes (1973)



Kim Fowley had rough times this year, his bladder cancer tried to kill him and maybe it finally will win, but he recently married with Kara Wright and after all it's a way to keep death quiet some time. Since I saw that visitors came on this post, I decided to re-up this wonderful album on M. It's an overlooked masterpiece. Since I discovered him in 1972, I've never abandoned Kim Fowley, I'm rather proud of that. Catch it here.

This is what everyone calls the "glam" or "glitter" LP of Kim Fowley. It's true that once in London, he certainly was influenced by the climax of the year (actually 1972) which was all for Bolan & Bowie. Since these 2 glam stars were an adaptation of Dylan, it's no surprise this album is what Kim Fowley tried to do with Dylan to produce his own glam identity. Actually, it's still very Dylanian and rarely goes in the real glam (except the T. Rex-influenced "Born Dancer" and "Dancing All Night"). But the fact is this album is surely his best (with Outrageous) cos' songs are really prime cuts and have supported the test of time more than many of those released at this period. It's true that Kim Fowley was backed and helped (for composition) by a strong team of musicians among whom Kerry Scott (where is this man, what has he done afterwards?) and Glen Turner, both on guitars. They provide a first class support and Kim Fowley seems exceptionnally concerned and focused. Only on the Ralph Shuckett co-penned "So Good Wish You Would", the madness Kim was used to, emerges again. But the most incredible song is "I Hate You", totally under the influence of Procol Harum, and most notably their Shine On Brightly period, with the doomest and darkest songs. The text is terrible (if you want to send a hate letter to an ex-lover, take it) and the song remains one of the highlights of the seventies. A perfect great forgotten song although it cannot be denied it's a Procol rip-off. Other gems are "World Wide Love" (a sure hit, why nobody released this on a single?), "International Heroes" or "Ugly Stories About Rock Stars", not forgetting "Something New", but actually there is no really weak track here. So, that nobody released this masterpiece on CD properly shows how the record industry only deserves to be despised until they die. 



Vic Godard & Subway Sect - Peel Sessions 77-78


A re-up, not re-quested, but I saw this post was visited last week so I suppose visitors were disappointed that the links were dead (rs and mf). So here it is again on M. Vic Godard, a man to remember, one of these numerous geniuses drowned in the shit machine of the rock business.

Subway Sect is surely one of the bands who was the most victim of the stupidity and the incompetence of one man: Bernie Rhodes, more interested in promoting the rock'n'roll-as-usual stuff of the Clash (never been a punk band although what everybody says, shit, I lived that period) than the genius of Vic Godard. Everybody knows now the incredible story of this first Subway Sect LP never released by the above named individual, and that Godard had to re-recorded some years ago in order to allow his fans to hear the songs that were on it. Some (but not all) of these songs can be found on various compilations. But here, I gathered the 2 Peel Sessions recorded by the band during this sad times. When I say "the band", it seems there were 2 bands: the almost original line-up for the 1977 session, but a completely new one for the 1978 session. Unfortunately, I didn't find the names of thi session's musicians so I didn't write anything on the rear cover sleeve I created. When you know that What's The Matter Boy? released some times later was recorded with a 3rd line up, you see that it was quite hard to follow. What's easy to follow, is Godard's music since these songs are as fresh and palatable than at the time of their creation. No many in that case. Versions of the What's The Matter Boy? LP are much better here to my eyes. The sound is very good and the versions stunning. I respected the order of the tracklist played, actually I respected what's written on the BBC site. Below some clips from the band in this period. Interesting even if the sound is shitty. One is a nice video montage with pictures of Anna Karina in Vivre sa vie from Jean Luc... Godard, on the Peel session version of "Chain Smoking".










11/5/14

Let's Active - Singles 84-88

I'm in an obsessive Let's Active period these days. I listened again to Mitch Easter discography when I learned he had played with the original formation, minus Faye Hunter who committed suicide one year ago (in July 2013). All this is sad and  funny at the same time. And nostalgia grabs me by the feet when I listened to the songs I so much loved between 1984 and 1988. God heaven and devil together I was young in these days. And Mitch Easter too. And contrary to so many bands and records, Let's Active first EP and 2 LPs (minus the 3rd one, Every dog has his day, ruined by John Leckie production), all this has travelled through time and years without losing anything of its charm, freshness and thrilling qualities. Here I gathered the promo and official singles the band released during its short life. So few singles when so many of Easter songs were perfect pop standards. Too sad the times were not kind for such music (people usually like loads of shitty music in these days and geniuses such as Mark Perry, Dan Treacy or Nikki Sudden were totally overlooked). I added the original version of "Horizon" with Faye Hunter singing and much better than the Every Dog Has His Day version, and "Invisible Hills", a song Mitch Easter considered too bleak for including it in the fabulous Big Plans For Everybody LP. I did the cover sleeve, using a quite overused picture, but I like it so much I couldn't resist. If this could help to restore the admiration Mitch Easter deserves, I would not have lost my time.  Enjoy it here. PS. "Water Parts" is one of my fave pop songs all periods.


11/1/14

Jack Bruce Band - Live at Manchester Free Trade Hall '75 (1975)


Requested, a new re-up of a Jack Bruce album. His recent death was not unexpected but was a shock. We were used to live on a planet where such a man existed. We'll have to live without. And then we'll follow him. Catch it here.

These days I'm listening much to Marc Bolan and I'm near to post some acoustic demos that gave songs to albums from Slider to Futuristic Dragon. But Rough posted today "One" by Jack Bruce Band on his facebook page and suddenly I realized there was much Bruce stuff I expected to post here that is still lingering in my computer vaults. So here one, not rare but an essential testimony of how sounded this strange team united under the JBB banner. Carla Bley and Mick Taylor backing Jack Bruce could seem a winner ticket but things did not turn this way. The band in this line-up can be heard on the BBC 3-CD compilation in a concert given for the Old Grey Whistlin' Test (and the thing can be seen on youtube even if I'll post here too). It was on the 6th of June 1975. Six days earlier, they had given this concert in Manchester. Much longer (111'), but with more or less the same playlist it's interesting to realize how the band was not so much in a self-indulgent approach that it may have seemed. Even the long "suites" of the second CD are played with a sense of tension that has nothing to do with a lot of experimental stuff of that times. Of course it's sometimes a bit dated but Bruce material is so strong that it overpasses the jazzy and prog useless complexity that spoils the music here and there. Just listen to "One" or "Pieces of Mind" if you don't believe me. They are jewels for eternity. I would have dreamed to hear Billie Holiday sing it. The Mellotron is more pregnant than the moog, it's important to note for those who, like me, have a strong problem with the later (and a big love for the former). But stop bullshitting with words, here the great Jack Bruce at the beginning of a very rude time for him.


10/26/14

Jack Bruce Band - How's Tricks (1977)





















Re-up too here of this album to for Jack Bruce's death.

Of course, nothing Jack Bruce recorded after Out of the Storm would reach the peaks of his 3 first solo LPs (minus the jazz rock one with McLaughlin) but it would be too easy to forget that he composed and played great songs too afterwards. I posted the 1978 refused album Jet Set Jewel here, its predecessor was released, with the same band, and even if there are some weak moments, there are also enough good to great songs to make it a "not to be forgotten" album. The sound is not too much polluted by the production climate of the year 1976 (the album was recorded in the autumn of 1976, one of the worst period in music history, punk was only burgeoning). Songs were mostly written by Jack Bruce for the music and Pete Brown for the lyrics, a long enduring partnership that guaranteed a sort of continuity for a musician changing styles sometimes too often. Of course, this album is not hard to find so I'm not totally authorized to post it but these songs are forgotten, even by those who know Bruce career (not fans of course). So I think it was a good idea to offer it for memories. PS. I posted the CD version with 2 bonus tracks. The booklet is in the rar file. Don't remember where I caught this album. Not my rip (only 192 kb).








10/25/14

Jack Bruce - Jet Set Jewel (1978)



Jack Bruce died today at 71 from his liver illness. This re-up of a fine album refused by the label that caused great damage to his career, is a way to give him a deserved hommage. For those who thought that Jack Bruce was only the Cream bassist, let's say that he was the main (and best) composer of the band, the singer, and that he had a long solo career with some of the best albums being released in modern music (specially Songs for a Tailor, Harmony Row and Out of the Storm). Meanwhile, catch this forgotten LP here.

Here's maybe the record that sent to the dustbin the career of Jack Bruce, another album rejected by a label (RSO), showing how these bastards had the power to refuse shamelessly to issue great albums from geniuses. Cos' Jet Set Jewel is a much better album than was the previous one, How's Trick recorded and issued 2 years before. But let's consider the situation. We are in 1978, for the last 2 years Jack Bruce has a band, and seems to recover from the sudden dismiss of Mick Taylor 3 years before, who ended his former Jack Bruce Band (with Carla Bley), without any album recorded or released. In this new band there's Simon Phillips on drums, Tony Hymas on keyboards and Hughie Burns on guitars. Their first album (How's Trick) was quite uneven and frankly weak (production and compositions). After a long year touring (with a mixed response of the crowd, waiting for old Cream songs when the band only offered his new repertoire), they took a year off followed by the recording of an album entitled Jet Set Jewel (from the eponymous song featuring a sarcastic text on the rockstars life on tour). The recording was difficult because Jack Bruce was hard on heroine and was never happy with what he heard. But after long weeks of studio it was completed and ready to be presented to the bosses of RSO, who hated what they heard and refused to release it. It was the end of hopes for Jack Bruce to have a full time band with him and a correct solo career. Listening to this album today (it was actually released in 2005 with an awful cover sleeve, see below, the reason I did another one from a digital Max Sauco picture I find more fitting to the LP content) it's difficult to understand why they didn't like it cos' it's quite obvious it was a great album that could have found its audience. In streaming, one of the 3 Pete Brown-Jack Bruce penned songs, "The Best Is Still To Come", the last track of the album, a difficult lyrics to write, said Pete Brown in the Jack Bruce recent biography, cos' it was clear that the best was not to come, but Jack Bruce wanted an optimistic song to close the album. It's one of the 3 masterpieces we can find on ot (with "Jet Set Jewel" and "She's Moving On").



The Best Is Still To Come

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The Best is Still to Come Getting into some new ways And out of the old Left the seasons of regret Changing my role Getting over the dark blue Maybe feeling something new Giving up is harder than living Into the new year And out of the old Saw a vision of the stars Coming out of the cold Getting over the hard greys Finding new days Giving up's harder than living Breaking away isn't easy And the best is still to come Found a season to sail on Into the gail Found a reason to press on Those hounds on my tail Runnig away/ got time to pay/ so much to say Giving myself the hardest sell Keeping it on Finding myself a hard shell That shines in the dawn Making a start/ taking some heart/ playing my part I'm taking the straight line I'm making my list I'm catching that train The chances I missed I'm getting past the fear And out into the clear Giving up's harder than living Breaking away isn't easy And the best is still to come There's a time to go through the lights When they say red There's a time to let crazy games Move in instead Making that play/ blows you away/ can't always pay A time to go walking on Threatening waves A time to call a stop Be nobody's slave Out into the air/ through with the pat/ giving my share Not coming last/ sun in your hair/ gaining so fast/ Now you are there -In shaking skies we fly alone Out into the lead Our wings are so near burning Keeping up speed Falling behind . . . feeling so blind . . . walking that line . . . so fine . . . I'm into some new waysAnd out of the old I'm leaving the sadness I'm changing my role Leaving out the blue Feeling so new Giving up's harder than living Breaking away isn't easy Giving up's harder than living Breaking away isn't easy But the best is still to come . .

10/24/14

Melanie - Seventh Wave (1983)



Strange that this is this rather weak Melanie album that I'm asked to re-up but since it is rather rare to find it now, maybe it's an explanation. I've tried to enhance the sound (a vinyl captured one, not by me since I do not own the vinyl). It's better than the first one I had up. Some Melanie fans really like this one, but personally it's not my cuppa sound (read below what I wrote in the first post). But anything from Melanie has for me some sort of interest. So here it is.

One year after Arabesque failed to meet any commercial success, Melanie has the good surprise to have a modest but real hit with her new single called "Every Breath Of The Way". It's a really good song not far from what Steve Harley did in his "Make Me Smile" era. The associated album, called Seventh Wave, would not meet the same reception and would fail to make any sort of impact. It's true that it's first cover sleeve was one of the ugliest ever released. The second one was less awful but unappropriate to give Melanie a Kate Bush dimension. This is the reason I decided to create a new one based on live pictures of Melanie I suppose taken at the same period. I'd long imagined this album was a wreck. Maybe due to the fact that 1982-1985 is one of the worst period in rock music. But I think this LP has its moments and can be saved. It's one step lower again but not a mess. It is to note that I post the German version with 2 additional songs ("Son Of A Rotten Gambler" and "What Do I Keep", 2 covers cos' interestingly, she composed most of the songs on this album, contrary to the previous 10 years). An interesting addition to explore the less known grounds of her career. Below a bad quality but very rare TV shot of Melanie singing "Every Breath Of The Way".


The first UK cover sleeve (I told you it was ugly, that's why I keep it small)

The second UK cover sleeve (no much better isn't it?)

10/19/14

John Cale - Honi Soit (1981)

New stuff on Forgotten Songs. Not really new since this album was released in 1981, but new since it was never posted before. If I could know why several Cale albums from the eighties are not available in any format, I would be grateful cos' it's a total scandal. After all, the paranoia Cale showed during these years seems to be only lucidity. I wonder why in the 80's I did not pay any attention to Cale's releases since now I understand he was still releasing seminal stuff when so many of the things I listened to during this period are now totally embarrassing. This album was not produced by Cale but by Mike Thorne who was working notably with Wire and then would produce Colin Newman's solo albums. But he respected Cale's personality and didn't try to transform it in a new wave artist (even if Wire was the best thing new wave provided). Musically, the album is a little bit more friendly than previous efforts but it's still abrasive and intense. There are some very great songs on it (the ones for which I added the videos below) and I must say that I wouldn't imagine it to be such an achievement. I think it's a great gift to put it on this blog since it is really not easy to find. It's funny how the album includes French evocations (from the title to the cover sleeve and to some lyrics). Catch it here.












10/18/14

The Only Ones - Live at the Paradiso (1979)



Required a day, re-up the next. Since Peter Perrett did some public appearances this summer with a backing band (not THE Only Ones unfortunately), it's not so sad to put here some old material such as this show from 1979. More about it below. Catch it here.

After England's Glory, let's go back to the Only Ones. After their singles, previously posted, some posts about their live recordings. This one was recorded at the Paradiso, the famous Amsterdam's concert hall, and captured on the 3rd of November 1979, some months before their last LP Baby's Got A Gun was released. It was apparently broadcasted by a Dutch radio but I don't know which one. If the playing is far from being perfect and often Peter Perrett seems a little elsewhere (not too much vocally, but his guitar is quite erratic and John Perry must do all the job), there are some stunning versions of "Big Sleep" or "The Beast" where one can understand why for some of us the Only Ones will remain was of the greatest and most exciting and moving band of our lives. This concert was released on CD on various labels according to countries (on Jungle in UK) but the cover sleeves were rather basic and ugly so I decided to do mine. Not a chef d'oeuvre but somewhat nicer I think. Enjoy this live gem here. Below some videos that caught the band in 1979 (sorry for the French TV doc, with the speaker (Antoine De Caunes) covering the intro of "Another Girl Another Planet", he deserved some kickass.






10/13/14

John Cale - Sabotage/Live (1979)





















A re-up of this incredibly overlooked album from John Cale recorded during a quite hard period on a psychological side but a fascinating one on the musical side. More in the text below. Catch it here. Asked by a visitor. You can ask too, it helps me to chose which stuff I re-up first.

Some visitor asked me to post this underrated live LP from John Cale. I was sure to have posted it when I was doing a series of posts about him (see there) but actually no. I forgot. It seems sometimes quite expensive to get and sure it deserves to be available more freely so here it is. When it was released, most (critics and even Cale's aficionados) considered it was a deceiving and even a bad album but retrospectively what a bad opinion that was. It's only that John Cale was no more the Island years one. Still more out of control and flirting with paranoia, self-destruction and madness, one of these periods artists sometimes cross and most often never survive too. He did. He's still here. And this LP is a proud legacy of his crazyness that stands the test of time. But most of these periods of eviscerations create great and enduring works and it's no exception here. The band is not totally relevant (if the guitar could be little bit discreet, not everyone is Chris Spedding) but Cale sings with such inner flame and "folie" that it's a stunning experience.  And most songs are great (but that's usually the case with this man). Lyrics are here.




10/7/14

The Peels (featuring JFG) - The Peels EP (2004)























Time is passing, John and Emma Peel are only flying ghosts of our past, and this EP the sound companion of this unavoidable fate. JFG is still alive and well (actually he's never been more prolific) and you'll hear from him very soon. As a proof, you can check his new demos on Soundcloud here and other fantastic Peels stuff there. Meanwhile, catch this gem here if you missed it. As we miss these two great Peel.

This is the first of several posts in which I will revisit the long and rich song history of JFG (how do you dare to ask who is JFG? Just click here and listen to the gems I posted and come back afterwards). If you are Robyn Hitchcock or Dan Treacy fans, you can't be indifferent to JFG's talent. Actually, since 1994, JFG led several bands before recording under his own name. There were consecutively Summer Factory (until 2003), the High Cheekbones (between 2005 and 2008), and now the Irregulars. There were also some side-projects such as the Sexuals in 2007 or more recently Winter Of Love (album soon to be released I hope, cos' I listened to it and it's great). He has also published under his name in solo some stuff here and there. So, what about these Peels? Actually it's the band who will become the High Cheekbones (the last song on this EP is actually called "High Cheekbones" and was credited to the Peels on the compilation I got, but I hope it's not an error). Fake EP since these 3 songs were not released at the time and were released in various other versions later. But as a whole it's a nice lot. The name was an hommage to Emma and John, the reason I created (not with a lot of professionalism I admit, but who really care?) this cover sleeve. On the back, it's really a picture of the band at the time. Happy to have found one. Since I know more and more, curious to know why I'm so apologetic about this singer songwriter, finally share my passion, I hope they will find here and in the future posts, the pleasure to collect all these lost treasures all unavailable now.  Meanwhile, enjoy this first shot here (rs) or there (mf).


10/4/14

The Telescopes - 7th # Disaster EP (1989)





















Again some new stuff on Forgotten Songs. The Telescopes belong to the nineties UK shoegaze scene but actually I always considered them to be the bridge between the Only Ones and Jesus and Mary Chain with a clear inclination towards My Bloody Valentine. I had not listened to them for maybe 20 years but recently, selling a great deal of vinyl and CD records to gather some urgently needed money, I gave a ear to their first album Taste, and suddenly remembered why I loved them so much when I never found anything for me in bands such as Primal Scream or Loop, and not much in Ride or Swervedriver (and so many more). So, I explored their discography (I got some EPs and of course the Taste LP) and realized I still love them a lot and that the juvenile and a little bit cliché posture still talks to me. I also discovered they play this old material on stage currently. And that most of their discography can be heard and bought on Bandcamp here (very good initiative). But some of their first releases are missing such as this gem, 7th # Disaster, a 4 song-EP that needs to be heard and possessed by any Telescope amateur. So here it is. Some noise for you. Catch it here.