Usually, I don't really like to post one-track free downloading EPs since it's not a major added value to post here something that can be found freely on the artist site (and one track in not enough). But in this case, I find this track so great that I can't help to post it. Even if it's one year old. The band is called Preacher, they are from Washington, this is their second release and they play a gorgeous post-metal sludge with superb stoner riffs. But more than that, they integrate a psychedelic flavour with indian reminiscences that make you levitate without any added substance. And they know how make of their melodic lines something more elegant than most of their challengers in this style. The final of this track is really something you can't miss if you like music. Enjoy here or go to dl it free on their bandcamp there (or below). Great cover sleeve too but didn' find it without the deformation.
One day after the Winterland concert (get it here), Golden Earring recorded this session at the Record Plant for the King Biscuit Flower Hour. It was really the occasion for the band to present their Switch LP (6 from the 7 songs here), one of their best, to the USA. The sound is not totally what we could hope for such a record studio recording but it's the better source I found on the net. Some are really awful. This one is quite good. Not enough bass unfortunately. If I was better on mixing, I would have modified it myself, but it would be too much time consuming given my small knowledge of this work. The band plays quite well but is not concentrated as he was the prior night. But there is much to love and these versions are mandatory additions to any GE amateur's collection. Enjoy it here (rs) or there (mf). I used the cover sleeve you can find almost everywhere, except for the rear, where I added the musicians and changed the lettering of the song's titles.
Among the great forgotten bands and albums, there is Necromandus. Their story is really terrible (you can read it in full details here) and honestly Tony Iommi can be considered as guilty not to have conducted his mission (he decided to manage them) until the end due to commitment with Black Sabbath. The presence of Iommi is the cause of all the bullshit you can read on this band in various blogs or sites, most often those who deal with doom and whose contributors can't ear farther than their small doomster narrowminded opinions. Actually, Necromandus has quite nothing to do with Sabbath (except here and there the vocals maybe, and of course "Nightjar", that seems to try to be a new "Paranoid"). Their style is somewhere between Groundhogs (on "A Black Solitude", "Still Born Beauty", the guitar work is very influenced by Tony McPhee's one), Flash ("Homicidal Psychopath", the vocals share a lot of similitudes with Colin Carter) and Yes (the guitar, quite influenced by Steve Howe), Budgie or even Thin Lizzy. So, nothing to do with doom. Of course, their name, songs' titles and cover sleeves (but is it the one that was to be released by Vertigo, I doubt it?) may assimilate the band with this movement. Analysed with these new criteria, it's clear that this album is very very good, quite a classic actually. And it's impossible, if you like the bands above (specially the Groundhogs and Flash) that Necromandus doesn't enter in your Pantheon (a monument where we put the dusts of our great men in France). This album, never released at the times of its recording, leading the band to stop, has been released in various formats between 1999 and 2010. Strangely, the original playlist has never been (to my knowledge) respected in one of these rversions, some songs missing in each one. So, based upon the wikipedia supposed original content of the album I merged 2 versions to propose what could have been Orexis of Death, the album that should have been released in the spring of 1973. This is why some songs have a little lower quality ("I've Been Evil"). Not sure it would have been a great success but I think the band would have done at least some more. Enjoy here.
Below, the guitarist of Stone Axe playing a solo version (all intruments) of "Still Born Beauty". A tour de force for sure.
And here the complete drawing of the front cover sleeve.
Two things appear unlikely. First that a real doomster doesn't get and love this album. Second that this album won't be in my top 5 of the year. Corrupted were among the first, 15 years ago, to do this slow and atmospheric post-doom, post-rock, post-sludge music and here they succeed, 6 years after their previous offering, to spread over the world (and more importantly, in our ears and brain) the funeral soundtrack of our doomed times. From a country that has experiencedonce again this year what it was to feel the end of the world knocking on your door (I mean Japan, cos' their are from Japan) it's rather logical that such a apocalyptic music raises from the void there. It's rather impossible to describe how this music can be full of despair, mourning and dereliction, but can be a comfort for our own sadness and melancholy with the incredible splendour of it's melodic power and it's celestial climax. An apparent contradiction that only those who never use sad music to dry their inner tears can't understand. But you, dear visitor, you know. The band seems to have more or less disbanded after this new album but this swantracks is one of the most wonderful you'll ever hear in your life. A music that'll make you forget who you are, where you are, and that time is the mandatory metronome of your life. I'm not really original in writing that, cos' you'll see almost every blogster cherishing this genre saying it's a classic (see here for a great chronicle). If you didn't know them, you can dig back their discography, there's plenty to love. Meanwhile you can ease your pain with this garden of unconsciousness here.
Here is an example of a break in the charts leading to a break of a band. This single, the less forgotten song of the band since it's their greatest success, should have not been released under the band's name but under the name of The Brothers. Written and sung by Hudson & Ford, it was not really the choice of Dave Cousins to see it released under the band's name and less of it all, to be the A-side of the single announcing their new album (Bursting At The Seams). But the company thought (and they were right) that it could be a hit. So they released it in January 1973. And it was (n°2 behind Slade). Actually, the song is quite embarrassing cos' it smells bad irony and despise for union workers. When you think about the future criminal politics that the iron lady would do against the working class some years later, it seems it was rather a bad joke. This is all the more concerning that the song is actually a concealed cover of a Woody Guthrie song called "Union Maid" (see and listen below to a strange live offering of this song with an Austrian audience totally indifferent, it's amazing). On the B-side, there was a non-LP song, "Will You Go", also a cover since it was composed by the McPeake family. The song, sung by Dave Cousins, is a nice one, and should have replaced "Part of the Union" on the LP. Anyway, the success of this single will throw Dave Cousins in a strange situation, seeing Strawbs being superstars for a song he didn't write, he didn't sing, and he didn't consider to be a Strawbs one. If he seemed to find the story quite funny first (see their appearance at TOTP below), soon he will be tired of this circus. Meanwhile, enjoy this couple (mainly the B-side) here. Below, you can see a limited edition US 10" cover that hire the song to a more respectful object towards the working class.
Sorry for those coming here for old 70's stuff, but for the 3rd consecutive posts, it's a new music post, and believe me, tonight it's really something. Imagine a mix between Harvey Milk and Shorty (or US Maple) played with the madness of Captain Beefheart (you see there's something of 70's old stuff) and you'll have a small idea of what music proposes this Chicago-based band called Grandfather Clock (quite a shitty name if you want my opinion). It's one of the most exciting thing I listened for quite a time, notably "Cornstalks in Rows" which is nothing less than a classic. This seems their first release, an EP, and you can listen it either on their bandcamp below, in dl it here for taste or on their bandcamp here and support them in buying a cassette (I still got the device to read it, don't know if you have?). A great new band for sure (and I listen to much of the new stuff with OMG so much rubbish or recycled old formula). PS It seems that they are 3 brothers. Rather uncommon.
The first demo Deha released under the name of Imber Luminis (Fletus, see here) has been one of the soundtrack of my life at various periods in the last 6 months. Don't ask me why I love so much this music. It's rather simple and repetitive, but its hypnotic power and its ability to make the world disappears around you has no equivalent for me. Here is a compilation of tracks he recorded over a span of time of 3 years, "Same Old Sufferings" in 2008, "Dancing with Stars" and "Silence" this year, the whole under the name of A Cold Distance and released this summer. If it's not as fascinating than Fletus, in particular the rather over-indulgent acoustic first track, "Silence" is quite similar and should be a nice viatic for similar trips the further months. But more to come since this great guy from Belgium (see his blog here for all his other projects) released a full LP (Life As Burden) under this band's name that I'll post soon too. Enjoy this first melancholic serving here.
If you feel like to dig deep in the dark guts of the earth, this is what you need in your ip... no earpod. This EP is truly a perfect soundtrack for such a macabre travel. And tonight, it's a welcome sonor friend to make this trip with me. Consisting of Canadian musicians and a Swedish vocalist, this band has (it is what everyone says in various blogs but I can't bet whether it's true or not) never been gathered once on stage or even in a studio. They all do their work through internet but it's impossible to guess when listening to this wave of filthy disgust and despair that washes our ears. There is something old school in their approach of the doom, no wall of noise as it is usually the case in the recent years. Riffs sound as if they were played by the guitar and it's not so usual. But something makes it in no way a passeist band. And the voices are always ghostly and impressive. The 3 tracks are quite homogenous (and superb), but it is to note that the last, "Whore", is a Swans cover (originally titled “Butcher” from their album Cop). Ensad this gem here, much better than what most doom blogs say.
Here a testimony of what a great live band was Golden Earring in 1975, during its golden era, the one between Switch and To The Hilt. I can't explain why this is a music that talks to me so much for now more than 35 years. But if like me you love SAHB, I think you share my feeling cos' there are some common points musically. Not everything is perfect of course, there are some scories, quite usual in these times (these solos, these useless lenghts of some tracks) but the new songs (those from Switch) do not allow the band to such indulgence and therefore most of the set is stunning. Moreover, horns provide a welcome new power to the music, and it's a good thing Barry Hay quitted flute cos' it was really too much (and rather weakly) Jethro Tull like. Honestly, some songs here are much better than in studio (in particular "Vanilla Queen" and "Daddy's Gonna Save My Soul") whereas others are treated with respect and do not lose their studio strongness. Of course "Radar Love" became a little too much of a tour-de-force with timeless improvisations that are quite difficult to savour as we did at that times (notably the drum solo, but who ever did a good drum solo but BJ Wilson on earth?). I had quite a hard time to finally find this audio file. Since the concert has been filmed and can be watched almost everywhere, it seems nobody thought to post it in MP3. And that wolfgangsvault does not allow the dl of a lot of concerts really upset me. What the fuck? Sell them if you want, but let us dl it for hell's sake. It must be noticed that the sound is perfect, not far from an official LP one (not exactly of course). So, enjoy it here. I conceived a new cover sleeve with a picture from the concert on the front side, and a shot from a TV show at the same period on the back side. Not my best cover sleeve but that's all I found. I post the videos (in the order of the setlist) from this concert below so you can watch listening and then listen wherever you want without the audio file.
I think I have quite a large knowledge of the music of the seventies (let's say music between 1967 and 1977) but contrary to many fans of this period and notably of obscure or at least, less-known bands than the ones the posterity kept in memory, I don't consider there are many forgotten masterpieces. I would say about a dozen. But it's only my opinion and I can be wrong. I'll try to post those I consider such. Here's the first, an LP by a band called Web. Previously they were called The Web but didn't exactely play the same stuff. The reason is that a fantastic guy joined them. His name? Dave Lawson, the future Greenslade keyboard/singer/composer. He took the wheel of this sonor vehicle and the result is stunning. Somewhere between Georgie Fame, Barry Ryan, The Nice, Colosseum or The Battered Ornaments, their music is classy, original, rich, various, never boring, and never totally in the progressive mood. More what rock could have been if it had been the new jazz. The lyrics are very good, based on intimate feelings of loneliness, jealousy, inability to get loved, metempsycosis, rather than the usual bullshitty hippie-influenced litanies of most bands. This is really a must-have, must-listen and so on. Esoteric records released it with 2 live bonus tracks (didn't put them in the file since I always respect the initial version of the songs environment). Later, the band will change its name for Samurai, but the album will be much weaker. Then, they gave up and Dave Lawson joined Dave Greenslade (from Colosseum) to form Greenslade. But that's another story. Enjoy this gem here.
Maybe some of you (yes, I know you exist, I saw the rs, mf and shiny stats, and they tell me you exist, I don't dl my own shit) will wonder if I'm gone insane posting Slade on this music blog often dedicated to morbid and macabre music (not always but most of the time yes). But actually, if Slade was not among my fave during the glam movement (I was a kid but I had my taste and they inclined me towards Mott, SAHB, Cockney Rebel and Sparks than Slade or Gary Glitter), it was not a bad band. They were just lacking ambition, judging by the relative richness of their 2 first albums and the indulgence they showed later on. An exception, and a big one, with this song, from their Slade In Flame album, released in February 1975 on the A-side of a single, and completely different from their usual quite shouty Rock 'n' Glitter style. Very influenced by the Beatles (but the band has always been), you can hear the future Undertones here, and even Polyphonic Spree (I'm not joking, have a listen) and Noddy Holder sings it divinely. It's stunning and a shame that the album was not filled with such an approach of music (even if it's one of the most sophisticated of their glam period). The B-side is business as usual (and not rare since on the LP) but also totally under the Beatles' influence so rather good. Don't stay stuck on your a-priori and catch this gem here.
How does it feel runnin' around round round how does it feel watchin' from upside down 'cos many years from now there will be new sensations and new temptations How does it feel How does it feel right at the start and how does it feel when you are thrown apart 'cos many years from now there will be new relations and new frustrations How does it feel? Oh! Oh! Do you know know know what it's like to be searchin' in your own time all your attempting experimenting all on the climb do you know know know what it's like to be searchin' and suddenly find all your illusion, all your confusion all left behind How does it feel turnin' away and how does it feel facing another day 'cos many years from now there will be newer poisons and new horizons 'cos many years from now there will be new tomorrows and still some sorrows
This album is incredible. I discovered it not long ago and was petrified by what I was hearing, not a usual thing after more than 40 years listening to music (I began quite young yes, I was a little kid, don't be upsetting). This band, at least in this formation (cos' they changed of line-up since this 1st LP), was for me like the resurrection of Amon Düül II (from Yeti to Wolf City period), sometimes mixed with Can but also Cure (the Pornography's one) and even Paradise Lost (the Gothic's one) but surely some more I know less accurately (maybe Death in June). If you want to know what is freedom in music, listen to this album (and to some others too, like Runhild Gammelsaeter for example). Since lyrics are sung and written in Sweden (the band is from Sweden), I can't understand what they sing about (but one track have been translated by a nice guy posting on youtube, you can see it below) but this is not a problem for understanding that this LP is great. You won't rarely listen to something more intriguing in your life. Lifelover has changed its style since this first LP and I can't say for the better, but they honoured themselves in giving us a cult LP and there are not so many to have succeeded in that. Actually, I discovered this album searching for pix to post on my other blog, Scoptophilia (here). I'm not sure this naked young woman covered of blood is really tasty and if it's not a little bit sexist, but I like it cos' it's, like the album, totally elsewhere visually. Amateur, pleasant and a little bit unsane. As is unsane the gun's shots on the second track "Ms Salmonella" and the shouting and crying aloud, when you remember the recent slaughter in Norway. Click quick to dl this gem here. And I encourage to do it to all visitors, even those coming only for old 70's stuff.
Empty gazes, emptied senses The subway is driving through the black city's Gloomy passages Everything has such a melancholia lustre tonight Everything and nothing is in disharmony; Is it beautiful or disgusting?
Before the Ash Eaters (see here) there was Brown Jenkins, actually, quite a one-man band too (from Austin, Texas), with Umesh Amtey at the commands (I'm unfair, there's also B. Demiurge on bass), not far from the Xasthur case. Both "bands" are usually considered and classified as the Black Metal style but actually "true" BM afinionados often dislike them, in particular Brown Jenkins, still less in line with the genre 's codes than Xasthur. For me, Umesh Amtey plays a sort of Big Black Metal, meaning that he mixes the Big Black approach of guitar (sound and riffs) with some BM features (voice, atmosphere, some drumming). The reason why I think noise amateurs of Albini or Steve Austin (Today is the Day) or even Godflesh, would be much more inclined to appreciate this music that BMmaniac who think it's rather boring, repetitive and linear (exactly what I like, except that I don't find it boring, and I like to drown myself in this layers of distorted and fuzzling guitars). This is "their" 1st LP (there will be only two before cessation of activity). And this is the best of the 2. There were some EPs too that I'll post one day maybe. Meanwhile, it's a welcome addi(c)tion to Xasthur's post for those who'd like to taste a little black metal but are not sure where to begin. Endepressed it here.
This is the perfect example of what I meant by forgotten songs. I mean songs that are confined in compilations or bonus tracks although they are of great value (or simply interesting to remember). Initially, the destiny of these ones should have been more glorious. Listen to (actually read) that. "Lick Your Fingers" clean was intended to be the A-side of the single that should have accompanied Aqualung in March 1971. But finally it was withdrawn, due (according to various sources) to the fact that it would have lead to confusion with the LP (?). The fact is it will only be reworked in another version under the title "Two Fingers" 3 years later on the War Child LP but I think this first version is better (but it's the Tull's formation I like the most, it's maybe the reason). This song is maybe not one of the band's best but the text is one of Ian Anderson's most political and would have been an interesting single A-side. More sad is the destiny of the B-side since "Wond'ring Again" was (and still remains) a great song. It should have been one of the songs in the Aqualung's playlist (both were recorded during the sessions for this LP) but was truncated and only the last part was included under the name of "Wond'ring Aloud". Strange decision. Once again this song's lyrics are very political, and on the B-side of "Lick Your Fingers Clean" it would have been a hell of political single. Sad it wasn't. The single story of Aqualung will be much more complicated. Stay online. Meanwhile enjoy this couple of songs here for a once united on a single, cos' they are spread on various compilations.
I'll see you at the weighing in when your life's sum-total's made. And you set your wealth in godly deeds against the sins you've laid. So place your final burden on your hard-pressed next of kin: Send the chamber pot back down the line to be filled up again. Take your mind off your election and try to get it straight. And don't pretend perfection: you'll be crucified too late. And he'll say you really should make the deal as he offers round the hat. Well, you'd better lick your fingers clean, I thank you all for that. And as you join the good ship earth and you mingle with the dust be sure to leave your underpants with someone you can trust. And the hard-headed social worker who bathes his hands in blood will welcome you with arms held high and cover you with mud. And he'll say you really should make the deal as he offers round the hat. Well, you'd better lick your fingers clean, well. I'll thank you all for that.
There's the stillness of death on a deathly unliving sea, and the motor car magical world long since ceased to be, when the Eve-bitten apple returned to destroy the tree. Incestuous ancestry's charabanc ride, spawning new millions throws the world on its side. Supporting their far-flung illusion, the national curse, and those with no sandwiches please get off the bus. The excrement bubbles, the century's slime decays and the brainwashing government lackeys
would have us say it's under control and we'll soon be on our way to a grand year for babies and quiz panel games of the hot hungry millions you'll be sure to remain. The natural resources are dwindling and no one grows old, and those with no homes to go to, please dig yourself holes. We wandered through quiet lands, felt the first breath of snow. Searched for the last pigeon, slate grey I've been told. Stumbled on a daffodil which she crushed in the rush, heard it sigh, and left it to die. At once felt remorse and were touched by the loss of our own, held its poor broken head in her hands, dropped soft tears in the snow, and it's only the taking that makes you what you are. Wond'ring aloud will a son one day be born to share in our infancy in the child's path we've worn. In the aging seclusion of this earth that our birth did surprise we'll open his eyes.
Tonight I sacrifice to a guilty pleasure. Not really guilty since this song is a true masterpiece, but cos' it's true that to appreciate Status Quo is sometimes considered by narrow-minded serious rock amateurs as totally silly and the sign that we have shitty tastes. Don't care (after Shocking Blue and Barry Ryan, I don't fear anything). I've always loved this song, not really the usual style of the band, much more folk-oriented, with an eastern flavour that makes it a one-shot but one of their most time enduring tour-de-force. Of course, with Mungo Jerry's "In The Summertime", Tyrannosaurus Rex's "Ride A White Swan" and Slade's "Cuz I Luv You", this style was not unfashioned at the times, but here, it's much better. A classic and quite a virtuosity challenge for a band usually considered as poor gifted musicians by those who think that you have to play boring complicated music to be a good one. I decided to post a fake single cos' this song has actually had a very complicated release story. First, it was issued in a rude version on the B-side of" In My Chair" in 1970. Then it was reworked quite completely and included on the Dog Of Two Head LP the next year. This is the version I cherish. Two years later, Pye records speculated on the band's success (on another label) and released the song on the A-side of a single (with "Lakky Lady" on the B-side) but it failed to chart. There was even another release in various countries with "nanana" (what a song's title) on B-side. Two years later, in 1975, they backed their "Roll Over Lay Down" new hit with some live tracks, and among the 2, there was a stunning version of "Gurdundela". Here are the 3 versions of the song on a fake EP (1 is the initial version released as the "In My Chair" B-side, 2 is the Dog of Two Head version and 3 the live version of 1975). And for the cover sleeve I took a splendid drawing found on a tumblr blog, but I don't know the name of the artist. I think it fits the lyrics, about a man who doesn't seem to have any chance with women. Be guilty with me in dl it here (reup).
The Dog of Two Head version
Love it seems I just can't find Love it seems I just can't find Seems that I'm the one love The one love left behind I've searched it just won't come my way I've searched it just won't come my way It's love that I want now So what more can I say Women seem to pass me by Women seem to pass me by If I could find the reason I'd know the answer why Love it seems I just can't find Love it seems I just can't find Seems that I'm the one love The one love left behind.
The 1975 live version
In 1970, Ian Anderson explained in the press that he didn't want the Tull being a singles band although he really succeeded to propulse them in the charts quite continuously over the previous years. So, the single driven from their new LP Benefit, released in April 1970, consisted only in 2 of the album songs and not of non-LP ones as before. Maybe I should not post them since they can be found on the original albums and therefore are not forgotten, but actually this single is forgotten. First because it's clear than none of the tracks had chart potential and second because it failed to make any impact although the LP was a chart success. So the Tull was becoming for the rest of its career a LP band. These 2 songs are not bad (the B-side is even rather a great song, musically) but they pale by comparison of the previous singles. Enjoy it here. I put the 3 cover sleeves. None is good but it's an historical curiosity.