Four months ago, I'd posted the last EP/LP (difficult to say) from this great Sweden band (here)? But the previous one, released in January 2008, was also a stunning beginning, more experimental than the second one but no less thrilling. Don't need to add anything. Just take it here, shiver with the music and then support the band there.
In May 1973, Peter Perrett's England's Glory has lost his guitarist, gone under other skies (and lost from view since then) and tried a new formula with a female guitarist called Julie (nobody seems to remember her surname, sexist world the rock 'n' roll one for sure). Unfortunately, her style won't fit with Peter Perrett's songs and this rare testimony demonstrates it. Funny to hear that she was 4 years ahead of her times since her playing is quite punk actually. But Peter Perrett needed elegant stylists such as John Perry to serves his songs correctly. None of these 4 songs would appear in his future repertoire. It's true that often, they are not far from Lou Reed plagiarism. Not sure "Predictably Blonde" would have been the title track of the lot if it was released in EP (but EPs were rare in 1973) but it's an hypothesis. Enjoy it here. PS. There'll be one more session, that will be posted here. Stay vigilant.
After leaving Island (I'll post later on some of his wonderful work from this era) John Cale had a difficult period concerning his solo work. Between 1975 and 1979, he would release only one EP, called Animal Justice, our today's post, a rather provocating affair and one of the few records from old artists that I bought that year cos' it seemed to me it fitted perfectly to the atmosphere of the punk era (much more than many others of his seventies mates). With it's fantastic cover sleeve, this EP featured 2 cult songs. The first is "Chicken Shit", based upon what is sometimes called the Croydon Chicken Incident (see here the story), a live set during which Cale cut the head of a chicken with a meat cleaver, the volatile having been freshly killed previously backstage. In this song, Cale is quite sarcastic about the reaction of his bassist and drummer who immediately quitted the stage and the band. The other cult song is "Hedda Gabler", based on the character of the Ibsen theatre play. Strangely, the keyboard theme is not without similarities with "Give My Compliments To The Chef" from SAHB. But it's a great song with a sublime climax. This EP has only been included on the Sabotage (Live) CD re-issue in 2000. Thanx to the anonymous visitor who sent me a link to this CD. Yesterday I had posted a ripped vinyl version I did but today I substitute for these CD versions, much improved on a sound level. Enjoy it here (reuploaded on rs). And find the lyrics for Chicken Shit here and for Hedda Gabler there. Added on the 11/26/2011. I added a song recorded during the same session (in Chalk Farm) and not included in the EP. It's called Jack The Ripper and was included in the Seducing Down The Door Rhino compilation on which you can also find "Hedda Gabbler" and "Memphis". A fifth song was recorded ("Ton Ton Macoute") but seems not to have been released in any format. I'm not a total Cale connoisseur in terms of discography, this is why my Cale's posts are rather evolutive.
A picture of the Croydon Chicken Incident on April 24 1977
After the end of the Slow Dazzle sessions and 2 onths prior to its release, John Cale was invited with his band (featuring the great Chris Spedding) to record a session for the great John Peel (3 great guys in the same place). The session has never been properly released (except "Fear..." on Kats Caravan - The History of John Peel on the Radio in 2009) and here it's only the bootleg version. Not too bad sound but not the one you'd expect from an official recording. In this session, John Cale seems quite calm and far from the extreme behavior and singing mode he will adopt during the year, culminating in Orange (France) in August (I was there) when he left his band on stage and quit for who know where. But the version of "You Know More Than I Know" is quite gorgeous. And on "Fear", he's mad as we love it (listen to the final scream and tell me what your spine makes to you). So, a rare testimony of what sounded the John Cale band at their beginnings, before they were experimented enough to explore more intense ways. Enjoy it here (reuploaded on rs). The cover sleeve is my responsability.
Standing waiting for a man to show Wide eyed one eye fixed on the door This waiting's killing me, it's wearing me down Day in day out, my feet are burning holes in the ground Darkness warmer than a bedroom floor Want someone to hold me close forever more I'm a sleeping dog, but you can't tell When I'm on the prowl you'd better run like hell You know it makes sense, don't even think about it Life and death are just things you do when you're bored Say fear's a man's best friend You add it up it brings you down Home is living like a man on the run Trails leading nowhere, where to my son? We're already dead, just not yet in the ground Take my helping hand I'll show you around You know it makes sense, don't even think about it Life and death are just things you do when you're bored Say fear's a man's best friend You add it up it brings you down
Yes, it's rather pure black metal for this blog, but the folk parts make me shiver like those on the 3rd opus of Led Zeppelin, and the Xasthur dimension of the music is what unload me from the heavyness of life these days (with John Cale, in another style). Here's the first demo of this one-man band apparently from California (when you remember this was the land of the Grateful Dead and other psychedelic peace and love combos in the sixties, it shows you times have changed). I'm not totally fond of the way this talented young man plays his solo (a little too much virtuoso for me) but this is not embarassing enough to preclude me to post this 3 track EP cos' it is very strong. Issued in February 2010, it was followed in May 2011 by a full lenght LP called Effigies and Epitaphs (it sounds as a King Crimson album title) that I'll post here later. It seems there was 2 cover sleeves, the more recent being the B&W one with the girl's silhouette, the brown wood the oldest. I discovered recently this man/band through the Chris Alfieri's (from Vattnet Viskar) mixtape posted on American Aftermath here. Enjoy it here. And support him there.
In the summer of 1972, Peter Perrett, aged 20, records some songs with his friends John Newey and Harry Kalouli to show to a putative new member aimed for guitarist in a new band (then called Peter & the Pets or England's Glory) how were his songs. Newey was beating time on a biscuit box and Harry Kakoulli slapping his bass (this comes from the Nina Antonia Perrett's biography). The result is surprising since here Peter Perrett is closer to his Only Ones period than to the short England's Glory one. He doesn't imitate so much Lou Reed than in their demo-LP of the further year. The most thrilling for any Only Ones fan, is to hear "Inbetweens" 6 years before it will appear on record. Some weeks later, there will be another "session", allowing to discover other new songs from this phoenix that honestly, has few chances in 1973 to be recognized as a major composer given the music featuring in the charts. So here is this testimony, released under the name of England's Glory in 2005 in a compilation called "The First And Last". I did the cover sleeve from 2 pictures I found on the net. I think it's rather appropriate.
Peter Perrett in 1972
John Newey in 1972
In November 1975, Island releases the album Helen Of Troy against Cale's wish, who didn't like some of the songs and considered it was still a demo-to-improve versions of the other ones. More incredible, among them was what will remain one of the best songs of his career and one of the best love songs of music history: "I Keep A Close Watch", and nobody in this record company thought it was necessary to issue it in single. It's true that between 1975 and 1977 Island will not hesitate to litterally assassinate some of their artists by arbitrary and stupid decisions. Cale will be one of the numerous victims. "I Keep A Close Watch" is a gorgeous and moving love song, orchestrated with the grandeur of the best Barry Ryan or Scott Walker songs. Lyrics, melody and arrangements make it one of these great achievements of the history that make you cry and shiver every time you listen to it. It was actually release in single some years later (in 1982), but in a new version that won't reach the summits of this original one. Cale would have liked the song to be covered by Frank Sinatra but I doubt it would have had the emotive power of Cale's version. On the B-side, I added an non-album song only released on the Island Years compilation and called "You& Me". It was recorded during the Helen Of Troy sessions and surely that Cale would have liked to see it on the album rather than some weak song. Very raw, more in the Pablo Picasso vein, this You-Really-Got-Me-riff-based song does a contrasted but welcome addition to the romantic A-side. Enjoy it here (reuploaded on rs).
Here what the so-called Reverend of Despair (his real name is Victor Fisher and he's from a band called Shroud of Delirium) wrote on Encyclopaedia Metallum to present this album: "I have been working on this new solo project due to the absence of my band. Although plagued by mediocre production (alternate: although blessed with obscure production) I though this may interest some of you. It's doom-based eclectic madness! Heavy music has done me plenty of good. Maybe if even a single odd fellow will enjoy this effort it was well worth it.". So here is my answer. I'm among the ones to consider that this kind of production is a bless and not a plague. Moreover I not only enjoy this effort, I consider it as one of the best surprise of the year, and I listen to quite a large amount of music in doom-sludge-black metal-atmospheric post rock and other experimental delirium. But here, I litterally found in love with this unexpected mix of so much genres, styles and sounds that nobody had the idea to telescope. It's Black Sabbath meeting Roky Erickson meeting Buzzcocks meeting whatever has some sense of melody in doomland and even Nikki Sudden. And the fact that there is a real feeling of artisanal humanity that flows from it make it not only a worth but a mandatory acquisition. That'll be my last word. Do some more in the future please, we need such albums in our dull lives. Here's the bandcamp. Here the album. Moreover his favorite citation is said to be "In heaven all the interesting people are missing." from Nietzsche, and honestly, he's right. And visiting his facebook page, it seems to be politically quite rough and citing Stalin and Proudhon, not common in this country. Support.
This is the last testimony of the glam Eno, and actually he can be considered to be in his next period, pre-newavesque, since it was released in August 1975 and precedes by only 1 month his Another Green World album (the B-side is driven from it) that shared nothing with the previous glam sophistication. In this cover (composed by Solomon Linda in 1939 and sung by his band the Evening Birds), there is still the sparkling and weird approach of music of his 2 previous albums that, for me, will remain his musical peak (I'll surely be considered as a stupid ignorant but I don't care anymore of what others may think of me, in particular people I won't never meet, and even those who I meet and who make my living a hell). Since this A-side was only released on the vocal boxset, I think it can be interesting to some to get it here. My connexion is so slow these days (my provider is called Numericable and their stuff is shit, thief and robbery) that I'm not sure to have the patience to upload many things in the near future.
It's time to get back to sludge & doom again. When time will come to select the best albums (or EPs) of the year (not long before this ritual from now), few should omit the last Alkahest. I had posted their previous EP here but actually this album gathers the 3 tracks from this EP with 2 new ones. The result is stunning. Everybody tells that they're playing Isis-like music but it's far less boring than most of the Isis stuff. If you want to try, take it here and then please go buy it there if you only want virtualcopy and there if you want hardcopy. It's only 9$ and for such a masterpiece, it's nothing at all. A must have.
Between 1973 and 1981, Kim Fowley put his solo career into brackets and kept busy with his Runaways project and various collaborations. Only one album, Sunset Boulevard (that'll be posted on this blog soon) was released, in a rather general indifference. In 1981, this LP, recorded with Rich La Bonte, was created and released without raising more interest from both the press and the public. Strange since this album is really great, and offers a novative approach of the usual weird rock 'n' roll experimentations of Mr Fowley. Apparently split in 2 sides, an 'Alcoholic' and a 'Psychedelic' ones, it is actually split in 2 songs styles, songs being spread across both sides. The first style is a sort of smoothie rock 'n' roll (the sound here is totally idiosyncrasic and can be recognized intantly when, like me, you've listened to this album since its release), not far from what Chris Spedding was proposing in a song like "Lone Rider" on Hurt, and includes "Face on the Factory Floor", "Zero Zero" and "Shades". The second style (most of the other songs) is totally experimental, with Fowley's narrative apparently mad storytelling on various musical background, from space rockabilly to cosmic synth ambiances. Strangely, it works when it should make you run away (OK, it's a little easy but I couldn't resist). There is also a Dylanesque ballad like Kim Fowley is the only one to do this well ("Destination Judy"). I took the source on the Bad News From The Underworld CD but unfortunately it's a vinyl rip off, not better than the ones you could find on some blogs (I hesitated to do mine, since I got the LP, but I'm not sure to do a better job than the ones available on the net, for example here so I didn't. Enjoy it here.
Here's the first of some posts about Brian Eno, when he was only named Eno and he was the sophisticated glamster archetypal specimen. We have been some to believe we had our British Todd Rundgren, the genius we were waiting for, but 2 years later he was going in one of the most musical nonsense of the century (at least to my ears), I mean ambiant muzak. So, here is his first solo single, released some months after the Here Come The Warm Jets LP (only some months after he quited Roxy Music) still an album in my top 100 all periods, but there's a long time I didn't write a Top 100 list I must say. Not that the song on this single is one of his best, but it's a real forgotten one, not even included as bonus track on the reissues of HCTWJ. Moreover, it's in good sound quality since it was taken from the Eno Box II - Vocals. The B-side was an outtake from the Fripp/Eno Pussyfooting LP (see comment below),an album that can be considered as the ancestor of drone (if you're in Nadja it should be a shock to hear that it was already done in 1973, although not with the same achievement). Personally, I've never been able to listen to it, although I'm quite used to experimental and extreme music. But this one always bored me. Yesterday I was not able to include this B-side in the rar file but a visitor (see comments below) gave the link to do it (in a vinyl rip) so now the single is complete. Enjoy it here. Some more from this period... later on.
Oh oh the french girls with the string of pearls Think it’s such a fucking shame That the local boys with their country joys Never make them daisy chains hey’re swapping disappointing incidents While at the docks another ship pulls in And suddenly the door breaks down (ooh la la) It’s the seven deadly finns Oh oh oh soldiers and sailors Have all been here before Gigolos and governments Have stumbled through that door Because they need all those french girls with all their kiss curls And powder in their guns And the seven finns with their deadly grins Tend to measure beauty in tuns The first is a freak with a masochistic streak And the second is a kitten up a tree The third is a flirt with an awful print skirt And the fourth is pretending to be me The fifth wears a mac and never turns his back The sixth never shows his eyes But the seventh deadly finn is so tall and slim He shoulda never been with those guys Although variety’s the spice of life A steady rhythm is the source Simplicity’s the crucial thing Systemically of course (work it all out like norbert wiener)So if those french girls say to you ’would you like your ashes piped ? ’ You’ll have to take their word for it It’s the only thing to take
I've said all my euphoric excitation for this band from Detroit here. Think MC5 meet Black Sabbath meet the Melvins meet Pelican meet whatever can make your balls (or ovaries) torsated in pain and pleasure and you got the ChristPunchers. They don't hesitate to make their tracks long labyrinthic and atmospheric pieces of music truncated by drone waves, talking excerpts and other prime cut shit. This is all we ask music to be. Direct, rough, violent but also metaphysical. Don't miss them, they are stunning. Here their last EP with 3 tracks in one (you can listen below). Their facebook page's here. Enjoy them here and then go to buy their shit as they say on their site first page (there).
In August 1972, Chas Chandler decided to send in the charts the new single of his "protégés" directly to n°1. So, he provided the single to the radios before releasing it (a common way to do since this time) but it failed and the single reached n°2 the 1st week, having to wait for a week more to get to n°1. Actually, it's the beginning of the Slade routine, the song being a T. Rex rip off (of "Telegram Sam") with a little Beatles flavour (of "Savoy Truffle"), and the formula would then become a little tedious. But I still post it for the B-side, a non-album track being here a rip off of ... "Rip Off" from T. Rex too !!! Although it is played in a sort of Led Zeppelin goes glam way. A good one indeed with a rather dark lyrical content about politicians. One of the last time Slade would be a normal rock band. So enjoy it here.
In January 1973, Peter Perrett records his songs with his band called England's Glory, featuring John Newey on drums, Harry Kakoulli on bass and David Clarke on lead guitar. He decides a very audacious bet in recording an LP completely, until the acetate is done and distributed to the various labels. This LP has never been released and the fact that David Clarke left the band and that no correct replacement was found sealed the destiny of the band. Only 3 years later (after living on dealing drug) he was able to form another one, the fabulous Only Ones with 3 incredibly great musicians. Not that England's Glory was bad either. There's in it some of the charm that will be germinates so radiously in the Only Ones, but the music is too down on the ground, and even underground given the strong influence of the Velvet on it. Often, one could imagine it's Lou Reed singing and even if Dylan was the supposed to be the main influence on Peter Perrett's songwriting, nothing here can attested it. Two future Only Ones songs are here in their first version ("City of Fun", much more punk oriented than the final one, strange since it was recorded 3 years before punk, and "Peter & The Pets" that lacks the genius of the further version). My fave song here is the fantastic "First Time I Saw You" and it's sad Peter Perrett did not propose it to the Only Ones. If I post this non-bonus tracks version of the LP is that because I think interesting to listen to the album as it was recorded. However, I'll post all the unissued songs on a further post (I mean unissued at the times, since now 2 CDs have gathered them). Here is therefore the initial LP as it was, and as it has been released by 5 Hours Back label (distributed by Revolver Cartel in 1987). Enjoy it here.