5/19/17

Sparks - B. Sides and a A fake LP (1974-76)

I've always wished that the non-album songs that featured on the B. sides of Sparks singles during their Island years would be gathered on a mini-Lp to be listened to independantly of the associated album. So I did it myself. I'm aware that there are some differences between these songs (not leftovers of second quality but fantastic tuned and arranged tracks). For example, the strong and thick Muff Winwood production of the four formers is rather different from the more sophisticated but weaker Tony Visconti production of "Profile" and still more from the ugly production of the Holmes and Lesser on the two last songs, the latter belonging more to the next period (the Columbia one, although in the UK they were still on Island) than to the great Island one. No matter, I think it's good to have these underrated forgotten songs all together gathered. So catch them here. More Sparks to come.





5/15/17

Subway Sect - Ambition / Different Story 7" (1978)



Weird I'd never re-up this one since the first post in 2009 (almost 8 years, it's crazy). It's one of the best single of the punk era and have never been altered by time. So here it is again. Thanks to Paul for requesting it. I should post more Vic Godard in the near future. 

In 1978, Vic Godard was considered by many, and in particular the musical press, as one of the punks who would become a star, or at least, would do a long and fruitfull career. We were all wrong and it is a great waste. I don't really know what happened in Vic's brain in 1979 and 1980, but he decided to dramatically changed his mind about his musical direction, and if his first album was quite an achievement (but not as much as a Subway Sect album building a sound on this single would have been), his later lounge style did please me at the time but retrospectively, seems a commercial suicide. But maybe it could have worked, I don't know. When it was released, I remember thinking he was trying to become commercial and not that he was trying to kill himself artistically. However, he failed. But back in 1978. With "Ambition", he signed one of the greatest songs of the punk wave. Somewhere between Buzzcocks and the Only Ones, with echoes of Television and Marc Bolan, it is all punk needed to become. Using strange little organ sounds and not the usual punk drumming, avoiding any "new wave" tendency such as XTC or Wire were driving what was first a brutal and simplistic music, Vic Godard and his Subway Sect was really doing something important for the future of the movement. Spectacularily, this song did not lose any of its emotional potential and has travelled through the years quite well. If you are one of those thinking that punk was a bad flash in a loosy pan, give it a try. "Different Story", the B-side (with the text on the cover) is also excellent.


Here's the lyrics of "Ambition"

You can take it or leave it as far as we're concerned. Because we're not concerned with you. What you want is buried in the present tense. Blind alleyways allay the jewels". I am a dried-up seed can't be restored. I hope no-one notices the sleep on me. I've been walking along down this shallow slope. Looking for nothing particularly. Am I guided or is this life for free. Because nothing ever seems to happen to me. And I won't be tempted by vile evils. Because vile evils are vile evils...



5/10/17

Buzzcocks - Live in Hamburg (1981)

Back to my Buzzcocks fixation with this incredibly great concert recorded in Hamburg on the 23rd January 1981, i.e. only few weeks before the band gave up (at least Pete Shelley was the main responsible for that but United Artists was no more supporting so they hadn't enough money to go on). Great because the band has here more energy and skill that he has ever had, even in its punk days. They play fast (all the versions are played faster than in studio and even than in previous live versions) and furious (aggressivity is at its summum). They are no more the poppy side of punk and didn't take the new wave path as so many of their pairs (unfortunately Pete Shelley would take it some months later). They are dark, rough and powerfully melancholic. And above all, the audience is great, very responsive and enthusiastic. Not the kind of ones they met in the US or in the UK anymore. But Germany was always a land of welcome for musicians and bands after their peak of success and is more faithful than most of their original countries (Nikki Sudden and Kevin Coyne among others found refugees there). But back to Buzzcocks. The setlist mainly consists of their main hits but they play 4 songs of their splendid three part-singles (Diggle's "Why She's A Girl From The Chainstore" and "Airwaves Dream" and Shelley's "Strange Thing" and "What Do You Know?") released during the previous autumn (and recently up on FS). Surely their failure precluded them to perform all of them during concerts (I would have loved to hear "Are Everything" and the genius "Running Free" too). And there is a live (and stunning) version of "I Believe" which is not so frequent. This concert was filmed and provided a live DVD (see the Youtube capture below) that I used to make the cover sleeve, but it's great to be able to listen to it without the image too. Surely one of the best live testimony of the band and one of the greatest live capture ever. The sound quality is quite correct. I didn't separate the songs since this kind of thing must be listened in its continuity. Catch this gem here.



5/9/17

Paul McCartney - My Love / The Mess 7" (1973)


Recently asked for a re-up of this single, I do it, 7 years after the initial post. A great single, either for side 1, one of his hits that made him reconsidered again by those who despised him since the Beatles separation, than for side 2, showing the raw and rough side of Macca, too rare for me but it's good when he does it. Note that this song did not benefit of any official studio release but only a live one (such as "Soily" a little bit later). Strange these rocker songs failed to satisfy Macca for inclusion on his studio albums. He should have done, this would have strengthened a little bit his records. Catch it here. Below, the official clip for "My Love" and another great version of "The Mess" played on a TV show in 1973.

Paul McCartney often used the B-sides of his singles (or Wings singles but is it different?) to try things and it resulted in the best (see here) or the worst (quite often unfortunately). Here is one example of the former with "The Mess", a song recorded live that shows that PMC can put intensity and loudness in his rock (remember "I'm Down" or "Helter Skelter"). The A-side was a hit worldwide and is a nice love song but I'm not anymore sensible to it whereas others Macca love songs still move me a lot. Can't explain why.









5/7/17

Sparks - Live at Record Plant (1974)




















This is a recording made by the band  in September 1974, during their US tour, between the release of their widely acclaimed and successful Kimono My House album (issued in May 1974, #4 in UK but only #101 in the US)) and its follow-up Propaganda in November 1974 (only 5 months later, a tour-de-force) which would be a little bit less successful in UK but fared better in the US. This is the reason why there are 2 songs form their next-to-come LP in the set ("Something For The Girl With Everything" and "B.C."). Otherwise, you find the 2 hits "Amateur Hour" and "This Town...", the latter in an extended version (not far from 6 min). The 4 other songs are from Kimono My House. This intimate concert (only some claps at the end of each song) would be broadcasted on KMET-FM's some days later. The sound quality is very good and this live-in-studio can be listened to as if it was an official release (which is not). What's interesting is to realize that the music that Sparks played on Kimono My House was not due to some highly sophisticated studio manipulations, but that the band was able to play it live as it was, showing the natural dimension of this surprising and singular music, that aged so well. Since the Mael's brothers are on the way to publish their 23rd album next September, it's a good opportunity to jump in their old material, and primary in some less-known testimonies such as the previous posts and this one. Catch it here. Note that I used the cover sleeve of one CD LP of this recording.



5/6/17

Halfnelson (Sparks) - A Woofer In Tweeter's Clothing Demos (1968)



I forgot to re-up this one as it was requested. Sorry. This is an interesting testimony of the Mael brothers' beginnings. More in the text I wrote in the initial post below. Catch it here.

Before Sparks, there was Halfnelson, and before the first officially released album of Halfnelson, there was this album called A Woofer In Tweeter's Clothing, a title that the band will use again for the first Sparks album (is it clear?). This album was worth releasing and it's a shame it was not and that it's now a forgotten one, cos' there are many excellent songs among the 12 featuring on it. Some will resurface later such as "Saccharin and the War" or "Roger", but in rather more sophisticated versions. What is clear is that the band had the british pop in the DNA of their songwriting, except for a strong Beach Boys influences. For the sleeve, as many, I was inspired by this information that "Ron Mael designed a sleeve depicting someone flying pas the Eiffel Tower on a surfboard in front of a bright moon". I didn't find the visual material to reproduce the original idea but tried to provide something not too ugly (others have done it, and I did a new one only for the pleasure, not cos' I thought I was doing better). Moreover, the sound version here was found on this site, a much improved sound compared to the vinyl rip you can find elsewhere. Enjoy this testimony of what a great duo was the Mael brother since the beginning of their long lasting career.




4/29/17

Buzzcocks - Complete BBC Sessions (1977-79)



















I'm not really sure this compiled the complete BBC sessions the band recorded between 1977 and their first separation in 1981, but I didn't find any other one so I conclude it's complete. The 14 tracks recorded for the Peel sessions were issued in the famous Peel Sessions Albums series whereas 4 tracks recorded in various other radio shows were issued on an album called BBC (The Archive Series) in which most of the sessions were from the reformed band (from 1993 to 1997). So I did this Complete BBC Sessions album with tracks in chronological order. The reason why there's 2 versions of "Sixteen Again" one after the other one. It's fascinating to see how the band matured over only a time span of 3 years and became a dark and deep musical machine when they began as bouncy pop-punkers. The cover sleeve I did is not a real success but I was a bit lazy tonight. Sorry. The importance is elsewhere, in the music, in the historical dimension of this compilation. Catch it here. I suppose none of you needs any video below to verify whether this is interesting to dl.


4/26/17

Sparks - Wunderbar fake EP (2003)



A long awaited re-up I forgot for unknown reasons. But since there's a new Sparks on the way (release next September under the title of Hippopotamus), it's an opportunity to re-up this incredible fake EP. Note that the Deluxe edition of Lil Beethoven it is driven from is now quite expensive and it's another reason to make it available again. I didn't find the credit for the pictures of the ceover sleeve I created although these images are now rather easy to find. Catch it here. I did a small video with other images of the Asian soccer models playing in the mud since the song was not on Youtube. Maybe it will be deleted because of lack of copyright but I'm trying anyway.

My fave song on the great Lil' Beethoven album... is a bonus track on the Deluxe Edition. It's called "Wunderbar" and it is not sung by Russell Mael (and not sung at all actually) but taken from a certain Gunter Koch, a German radio football commentator. Apparently, this song could be only anecdotical, but, as often with Ron Mael, it becomes impressive and somewhat "inquiétante" (take a dictionary, I can't find a better word in English). Yes this piece of strangeness is addictive even in its ability to distillate a poisoning atmosphere due to the music, not so funny and giving to this song a kind of military flavor reminding the darkest hours of German history. It would have magnificiently fitted in a Cabaret style film. Maybe one future day. The 2 other bonus tracks (on the virtual B-side) are fine too. One is a kind of explanation of the Lil' Beethoven concept by Ron Mael. The last one is an instrumental version of "The Rhythm Thief" and it's a delight. I truly like Russell's voice, but the instrumentals Ron create can stand by their own. Honestly this man is a genius, even if in the past, he often lost the touch, Sparks being for example quite embarassing to hear in the nineteies. But these dark times are over now, and with Lil' Beethoven they became again the great band they had been long ago. For the sleeve, I chose a fantastic series of pictures of young asian girls in underwear playing football in the mud. It is, Sparks fans will admit, exactly in line with a Sparks imagery. Unfortunately, although these pictures are easy to find on the web, none credit the photograph and since I don't speak Korean (I'd say these girls are Koreans but nothing sure) I can't give the credits I would have liked to find. I post this one as Sparks are releasing their 22th album, based around Ingmar Bergman, and I hope this will add another gem to their long career.



4/25/17

Buzzcocks - The Harmony In My Head Session fake EP (1979)






















Weird but I re-up this fake EP 2 days after I posted it the first time. Here's why. Actually, the 2 songs that made it on the single exist in their demo versions and were released on the Mute double CD version of A Different Kind Of Tension. So it's more consistent to substitute them to the finalized and highly produced versions from the single. So, if you dled it in the last 2 days, take this one, you'll have 2 more demos ("Something's Gone Wrong Again" is the instrumental backing of the song). Catch it here.

This is the first of a small series of fake EP consisting of demos recorded in a specific session by Buzzcocks. I begin with this one cos' Steve Diggle specified that it was at this session that "Harmony In My Head" was recorded. Unfortunately, there is not the demo version of the song. My idea was then to put the A and B-sides of the single (without being sure that "Something's Gone Wrong Again" that is on B-side was actually recorded at this session), and to add the other songs recorded at the session. What's interesting is that you have 4 tracks that were never finalize and that you may listen for the first time (except if you have the album Chronology) 2 from Diggle, 2 from Garvey. I changed a little bit the cover sleeve of the single to create this fake EP. Hope you'll like it. More to come. I'm posting this 1 hour now from the result of French election and I fear that I'll say soon that something's gone wrong again, too often it is the case in the damned country.


4/19/17

Morrissey - I'm Throwing My Arms Around Paris 7" (2009)



A requested reup. I'm not in Morrissey these years but it's a fact this is a great song and a great period in his career. Since then, he didn't release anything I found of enough interest to buy or even listen more than once. Maybe he'll do it in the future but he (and I, since we have the same age) is becoming old and time is running away. Catch this gem (about the town I used to live) here.

When the time will come to vote for the best songs of the year, I hope nobody will forget this one by Morrissey, one of the most wonderfull he wrote since the Smiths disbanded. The metaphor is gorgeous and inspired. Similar to the old Smiths period, this is moving without being "niais" (sorry I did not find an English term for this word). I've not followed with much curiosity the career of Morrissey after Johnny Marr and him separated their ways, because it was hard to listen to his new material after such an achievement, but I was wrong and he composed some great tunes with superb lyrics even after. Only the stylish options often bothered me. But with Years of Refusal this year, something made it again for me. And the B-sides album Swords issued this month confirms that I'm still higly receptive to the songs and the voice of this man. This single, released at the beginning of the year, did not find the way to the top of the charts I thought it will find. It does not matter but it shows how the public taste got some dysgueusia these days. I must admit that the present 7" does not exist actually since it is the 2 CD version that contained both B-side tracks I post here, the single having a live version of the great Smiths "Death of the Disco Dancer".



I’m Throwing My Arms Around Paris. In the absence of your love And in the absence of human touch I have decided I’m throwing my arms around Around Paris because only stone and steel accept my love In the absence of your smiling face I traveled all over the place and I have decided I’m throwing my arms around Around Paris because only stone and steel accept my love I’m throwing my arms around Around Paris because only stone and steel accept my love I’m throwing my arms around Paris because Nobody wants my love Nobody wants my love Nobody needs my love Nobody wants my love Yes you made yourself plain Yes you made yourself very plain

4/15/17

Buzzcocks - Parts 1-3 (1980)




















It might sound weird, but as a "first-hour" Buzzcocks fan, the period I cherish the most in their discography is the second side of A Different Kind Of Tension LP released in September 1979, and these 3 singles released as Part 1, Part 2 and Part 3, with reversed A and B-sides (one by Pete Shelley, one by Steve Diggle) according to samples, and that were maybe supposed to provide a longer series (but this will surely be explained a near-to-be-published biography written by Tony McGartland). What is so remarkable in this series is that the band has left his lightweight approach of punk for darker, harder and oblique options. Buzzcocks always had this little more class-touch compared to other bands issued from the punk movement (even compared to Wire) and here, allied with a denser and deeper music, full of new instruments (horns, cello) and a harder visual, they reached the top of what could be expected by punk. Moreover lyrics are no more about romances but about psychic distorsion or mental confusion in Shelley's ones, and down-to-earth everyday living condition in Diggle's ones. Released in August, October and December 1980 respectively, these 3 part-singles were the epitome of the band grandeur. Unfortunately it was too their swansong since they soon disbanded the next year, Pete Shelley beginning a solo career (with Martin Rushent helping for production) which, on paper, should have been a triumph but was not, either musically (although the 2 first albums have their moments, but too much synthetic for me) or commercially. So, here are these 6 great songs. Note that among them, only Diggle's "Why She's A Girl From The Chainstore" is regularly played on stage to this day (saw them recently in Paris and it was). But in 2016, it seems they played for the first time since 1980 "Strange Thing" and "Running Free", 2 of the bests of the load. Catch this gem here. Below I posted the front and back cover sleeves (note that sometimes the front and back were reversed) and a video from the song, with one clip (not really good) that was shot for "Why She's A Girl From The Chainstore"

















4/14/17

Nikki Sudden & The Jacobites - Jangle Town / The Last Bandit 7" (1986)




















This 6th single/EP from Nikki Sudden was released under his name and the Jacobites. Actually, his association with Dave Kusworth appeared to be short-lived, only 2 years (but they would play again together, and much longer, in the nineties). Driven from the wonderful album Texas (his best for me), recorded in June and July 1986, the A-side was not really able to catch enough attention on a single. The B-side was a non-album track and would even become some years later the name of a compilation, and a classic stage song. All this is enough to consider interesting to post this single (that was not released in an EP version such as it was the tradition in the eighties). Catch it here. PS. The sleeve is a picture of mine since I have bought this 7" when it was released.