Let's go again

After a night and a day of intense cogitation, I decided to go again (or, as my skull says, to try) even it the loss of all my mf links (one year of uploading) means hours and hours wasted (to upload once and to have to reupload) and isn't easy to swallow (translation of a French expression, don't know if it means something in English). I will however procede to several changes. First, I won't post doom, sludge or anything newly released anymore. I was wondering whether it was still possible to argument that I provided free links here when (sometimes) bands offered their music free on their bandcamp, allowing to donate for support. I thought it became difficult to argue and this event convinced me to stop with it. There are plenty of blogs devoted to doom, sludge, black metal and stoner on the web and you won't have difficulties to find freely dl stuff on them if you absolutely want it. I think I'll may reactive my other blog, called Dim Damn Doom (here) for signaling bands of these styles I like and provide links to their bandcamp. So, Forgotten Songs will focus on old stuff never reissued, or deleted, or expensive, or spread on cheap compilations, or added as bonus tracks to make you buy for the 3rd time an album in CD. I will be cautious to avoid bands on the big corporates, quick to proceed to legal actions and kill in the egg the ugly pirate I am to their eyes (even if they let gems rotten in their archives). All this is not a guarantee I will succeed to go on long but I'll do it, at least for all the rarities I posted and that you can find nowhere else (at least to my knowledge, think about "No Complaint Department" from SAHB, Parfum de Nuit from Alain Kan, the second LP from Jean Claude Vannier, single versions of Melanie songs, never re-issued B-sides from Steve Harley or Golden Earring, the first single by Family, and more recently the lost LP from Alternative TV Dragon Love, it would be a shame to lose it all when I'm still alive to keep it available (and if suddenly I don't give any sign here, be sure that the reason is I died). So, enough words, tomorrow something will be posted. Since I alternated doom/sludge and oldies, I was able to post with 1 to 2 days frequency, but with only old stuff (and the work it demands to make a correct post), I'll surely post less often.


Mediafire (and At A Loss) Killed Me

My mediafire account has been locked. I can't have (and neither you can't) have access anymore to my account. They decided to remove my files and preclude me the access after a complaint by At A Loss records that I violated their property rights in posting the last album of The Body (here). If they don't understand that blogs like this one contribute to make their bands known and not to rob them, they can go to hell, their little shitty mind is not better than the mainstream labels they surely despise. For me it's over. It was a large amount of work and to see all this erased in a minute is enough for me.  I'll stick to Scoptophilia (here) until someone ask me to remove all his pictures. When the web will be just a large virtual commercial center they willbe happy at last. And the supposed alternatives like At A Loss are not different. Sure I'll be cautious not to listen to a record by this label anymore. Bye to everyone and most specifically to those who were kind enough to leave some words in the comments. It was for them I had the courage each evening to take the time to make covers, write some poorly formulated words, upload files, and find appropriate pictures and videos. PS. I will keep my rs account open and try to upload old stuff I uploaded on mediafire on it. It's too sad that rare stuff hard or expensive to find should be lost or prohibitive to get.


Luigi Cherubini - Requiem en Do mineur / Requiem in C minor (1816) by the Corydon Orchestra conducted by Matthew Best (1995)

You may wonder why I post classical music. First I would like to answer that it's not the 1st time I do, you'll find Schnittke requiem here and Mahler's songs there. Moreover, if this requiem is not really a collection of songs, it's not far from being it with the usual decomposition of requiem in chants. Moreover, sure is that Cherubini (born Italian but who did most of his career in France and died here) is a rather forgotten composer, strange since he was considered by Beethoven as the greatest composer of his times (and found this requiem better than Mozart's one), and cherished by Schumann. Being one of the teachers of Berlioz, the latter always was very apologetic about his elderly. I always loved this requiem. Composed when he was 56 and a really notorious and respected composer, there is a strange strenght in it, something of a real spirituality mixed with a true anguish raising from the constant alternance between calm and tormented phases. And more than everything, the last 2 minutes of the "Agnus Dei" (the last "song" of the requiem and that I put in streaming below) is one of the most soul-elevating moment of entire classical music (I don't know everything of course, but I've listened to quite a lot). It's not far from drone as we know it today finally. Suspended between music and silence, it's an agony sonor background I will try when my turn will come. Note that the first track is a Funeral March not belonging to the requiem but I respected the tracklist order of this album. I didn't listen to enough versions of this requiem to give an appreciation of the way Matthew Best conducts the Corydon orchestra and singers (and their own talent) but this version has been the fist I listened to and remained my fave until today. Enjoy it here. Below a portrait of Cherubini by his friend Ingres (strangely one of my favorite painter too, although Gustave Moreau, whose painting has been used for the cover sleeve, official one, remains my all-time favorite and fits well with this requiem).


Roy Wood - Oh What A Shame - Bengal Jig 7" (1975)

Although 1975 seemed another high for Roy Wood, this single (released in May) would be his commercial swansong. Although  it would reach n°13, it would be the only chart enter Wood would have over the whole year and more dramatically, until today. For a man placing 4 singles and one album in the charts the year before, it was a rude stop. Totally under the influence of the Beach Boys (as most of his work between 1973 and 1975), "Oh What A Shame" is a clever but rather conventional Wizzard-like tune, no real reason to have released it under his own name (except it was to be on his Mustard album). The B-side was the 3rd of these intrumentals mixing various apparently unlikely consistent styles, here again indian music (via the sitar) and scottish/irish folklore (a jig). Not seminal but for those who want to gather all Wood's work a curiosity. Enjoy it here. PS. The cover sleeve was very ugly but Roy Wood seemed to affectionate his drawing as illustrations for his records.


Roy Wood - Going Down The Road / The Premium Bond 7" (1974)

While releasing hits every 3 months with Wizzard, Roy Wood found the time to record solo things and to put them too in the charts, never getting out of them over years 1973 and 1974. It's the case with the "Forever" follow-up in June 1974. This strangely forgotten song (strangely since it was a decent hit, reaching n°13 in the UK charts) is an improbable mix between reggae (à la McCartney's "C-Moon") and Scottish trad music (pipes and mandolin). Not really one of his best but amusing nowadays. The song is often omitted from compilations and was not on any official album. The B-side is a second "B-side only instrumental", this time plagiarism of a James Bond soundtracks. An "exercice de style" not bad but nothing transcendal neither. Enjoy this nice couple of rarities here.


Rotting Hills - Belgrave (2012)

It's only a track, but it's so good I can't wait to post it. It's the sludge at its best. Old style one. If you're into Sleep and Autopsy of the 90's, you'll find her something to kill your shitty evenings as I kill this one tonight. They are from Vancouver and it seems this track is from their future LP. I wait for it with impatience. This band will surely contribute to make my year a little less worse than it was expected to. One of the best track of the year so far. 10 min of monstruous genius. Washes our ears from all the filfth crawling in. The drumming (sound and style) is fucking awesome and the way they carry you on their sound carpet is stunning.You can dl it freely on their bandcamp here or enjoy it there. You must hear too their previous opus, almost as good (but in a more Dopesmoker style) that I can't find in any dl version but that you can hear here.


Nikki Sudden with the Chamber Strings - Live at WFMU (1998)

One of the biggest anomaly of this blog, for those who know me (not many actually) is the absence (except one post) of Nikki Sudden in it. I can assure that if this blog goes on still a little bit of time, it will feature several Sudden forgotten songs. But I was not too much in my old time hero lately. However I would like to begin with this excellent "live in the radio" show with Nikki Sudden backed by the Chamber Strings, the band led by Kevin Junior (in rather bad health and who needs help these days). This collaboration will result in the Red Brocade album the year after. But this 5 song load is a must-have for those who loved the Groove period. The set consists mainly of songs from the Red Brocade album. Although he was no more the inspired artist we all cherished in the eighties, Nikki Sudden died too soon and left a wide gap in rock music. This live testimony can be found free dl on the radio site here but you can enjoy on the form of a short LP gathering only the Nikki songs (with a did-it-myself cover from the one provided by the radio) here. Below a picture of Kevin Junior and Nikki Sudden at the times (I suppose).


Roy Wood - Forever / Music to commit suicide by 7" (1973)

Here's the first of a Roy Wood series consisting in singles featuring a non-album B-side (or A-side of course). This one follows 2 singles driven from the sublime Boulders, an album released in 1972 but actually recorded in 1970 but postpone not to compete with the Move material. So, "Forever" was clearly a new recorded song. It must be remembered that 1973 is an incredible year for Roy Wood. Listen. He had 4 "Top 10" songs in the charts, among them 2 n°1 hits. And in November, when this single is released under the Roy Wood name, he released with Wizzard his mega-hit "I Wish It Could Be Christmas Everyday". These 2 singles will enter the Top 10 too, "Forever" reaching n°8, "Christmas" n°4. Few others did better. Musically, "Forever" begins a Beach Boys obsession that will go on for years, but with a Glam-Spector sound that will be the Wood's trademark for the next 2 years. On the B-side, the first of a series of weird intrumentals, "exercice de style" that he will keep for single flipsides. This is one of the best of them. Nothing really to make us commit a suicide by, but a truly delicated and atmospheric track showing all the virtuosity of this bearded master cut with some circus music played classical in the Shostakovitch style. Enjoy it here. PS. I did a cover sleeve since there was none in UK and the ones I found are rather poor. As you can see below, when Roy Wood played his song on TOTP, he was not grimed as he was with Wizzard.


Aquanaut - Sunken Ark (2012)

Yesterday evening, desperately searching for something new to provide this thrill that can save a shitty day, I was on the edge to let it go, so many new releases sounding flat and uninspired to my ears, when the eponymous track of this album made me realise the quest had not been in vain. This was THE thing that would save my day, and surely more than one day. Not everybody's taste I must say, you must love this kind of psychedelic noise Skullflower had been the masters of (think Orange Canyon Mind, my fave from them, sometimes they sound as Terminal Cheesecake for the XXIst century, but there's much more in Aquanaut, a band from Vancouver (honestly, Canadians are among the most inovative in extreme music these years). What's fascinating in this band is that they are one of the rares that could be loved by old Krautrock fans and pure psyche-noise ones. Their riffs are heavy but the general atmosphere takes you in space. You must be ready for the extreme to get into it but if you are, you won't be deceived. The kind of album a Julian Cope could take as album of the month without any hesitation. Enjoy it here and support them there in buying their stuff any format you want.


Melanie - Will You Love Me Tomorrow / Here I Am 7" (1973)

This strange idea of covering this rather bubblegum song written by the Goffin-King (yes Carole) duet and a hit by the Chiffons in 1962 (but sung beforehand in 1960 by the Shirelles) was finally a good one, at least commercially speaking cos' it put Melanie back in the UK and US charts in November 1973. Not at a high level (37th and 82th, respectively) but at least in public view again. After "Bitter Bad" moderate success and "Seeds" failure, it was a way not to leave 1973 on a too bad feeling. Musically speaking, it's another story, Melanie being not (for me, but others may not share my views) the good person to sing such a repertoire. And she doesn't succeed to bring this song in her universe and to make it hers. Since I never found on compilation another version than the later re-recorded one, I ripped it from my single so the sound is not perfect but not so bad. On the B-side, there's one of the finest songs of Stoneground Words, the cabaret-stylished "Here I Am", a splendor that would deserve this single on its own merit. I took the cover sleeve of my single to illustrate the post although it's rather ugly. The other one (see below) is not of good quality enough to feature on the top of the post but is much better. Enjoy it here.


Alex Harvey Band - Shakin' all over 7" (1979)

Yesterday, an anonymous visitor wrote that this was not the A-side version of this single that I posted, but the album version. First I was upset since I didn't like the way he wrote it, without any kindness for the gracious work I do here. Then I was dubious since I thought the versions were the sames except edited on the single. But tonight, I realized he was right and that the single version is rather different, and much better than the LP one. Much rougher and hard-edged. So, I ripped my vinyl and, although the sound is poorer than the CD one of the album version, it's at least appropriate to the post since it's the actual version that we could find on this single. Enjoy it here.
Below what I wrote in the then post
"This is the first single (with a not so good picture on the sleeve I must say) Alex Harvey released after having disbanded his Sensational Band. He named the new one The New Band, maybe not the best idea he got but it was his own choice. This anticipated by some weeks The Mafia Stole My Guitar but did not provide a good insight in the future LP since here Alex seemed to go back to his roots, music from the 50's and the first years of the 60's. The new band would have more space to show his musical skill in the long player but here one can see that it was a hell of a band, compact, powerfull, a good vehicle for Alex's voice. The choice of the Johnny Kidd standard might seem not too relevant to the punk years but actually the Pirates (without Johnny Kidd of course, dead 20 years earlier) had reformed and I've seen them at the Hope & Anchor in the summer of 1977 with full punks (I was one I must say) pogoing at them. The version here is quite extreme and unusual. Difficult for me to describe it in English but let's say it sounds more new wave-ish than nostalgic. And Alex's voice is rather hard to recognize. The single was well received by the musical press in England, but unfortunately, it seemed that Alex would not benefit, contrary to his pal Ian Dury, to the jump wagon opportunity (I try this expression but I'm not sure it means what I mean, no matter). The B-side ("Wake up Davies") was much more interesting and remains one of my fave Alex song. Beginning like an old Mississipi rural blues, it turns in a Louis Prima-esque song that would make dance any cul-de-jatte (this for the not so funny joke of the sleeve drawing). I never saw this song on any compilation, neither on any blog, so I think it is a nice gift to rip it from my vinyl single and post it here for who wants it. More to come in the further day from Alex.

Here a picture of Alex during his post SAHB years.


Iron Hills - Famine (2012)

Let's go back to the real shit: sludge funeral doom at its best with this band from Saint Louis that offers us a sort of epitome of the genre, a new milestone in the road travelled to nowhere but death that this musical style digs for us for the last 23 years. In 3 tracks they mark their path in this muddy earth we love to bath our ears in. The style of music you don't only listen to when you're in violent mood but almost anytime life becomes a little too heavy to support without some sonor equivalent to exorcise your suicidal inclinations. These young guys succeed in creating this. Of course they borrow their style to the "grand ancients" but they do their own stuff with singularity and, at least to my non-perfect knowledge, do not copy anyone. Strongly recommended (you know I never recommend anything that would be mediocre or only half-good). Tense and intense, Iron Hills are there to stay. Unjoy here. And then support and buy on their bandcamp there, so that they can release any solid version. PS. It's their second EP. First one is in free dl on bandcamp too.


Melanie - Seeds / Some Say (I Got Devil) 7" (1973)

Strange single this one. Let's hear the story (as I know it). In June 1973, 4 months after the half-successful "Bitter Bad" single, Melanie releases "Seeds", a new song, wrongly announced on the label part as a song from a forthcoming album (the next one will be Madrugada in 1974 and the song won't be on it). The single is released in 2 versions, one with a shortened (they said "edited") version of "Seeds" on side 1 and a long (they said "complete") version on side 2, and one with the short version on side 1 and with the fantastic "Some Say (I Got Devil)", from the album Gather Me (thus, strangely not from the previous album). This apparition of a Gather Me song on side 2 was maybe linked to the presence of a poem called Gather Me" in the long version of "Seeds" (I'm not sure I didn't lose some of you by now). The result of all this is that the single won't do anything in the charts anywhere. It's actually not one of Melanie's best, and is rather discrepant with what she was trying to build with Stoneground Words. Not a bad one either. Rather gospel-inclined in the line of some of her previous hits, with a text that, as 'Brand New Key', is full of sexual tongue-in-cheek insinuations "You can plant your seeds in my garden / Any ol' time you want / You can bake your bread in my oven" (!!!). Don't forget that she'll spend the current years becoming a mother 3 times, surely what these lyrics are about. I must say that I was desperately searching for this song (not on any compilation to my knowledge) and I thank a lot "Any middle-aged German Witch in Amerika" for this MP3 gift. I found a good definition Portuguese cover sleeve on a ebay sell page so I used it. Enjoy this rare song here.


Roy Wood - Mustard (1975)

Two things. First, I hate mustard. Second, I love Mustard. I hate (and never ate) the food but love the album sharing the same name. Unfortunately, we were not so many at the times since this album is the Wood's swansong (swanalbum should we say), cos' it was the end of a non-stop presence in the charts (in solo or with Wizzard after a presence with the Move and ELO) and the first failure of a non-stopping one until today. Not really surprising after all when listening to this album. How could a wide audience ingest and digest such a strange sonor pudding (more than mustard, this could have been the name of it). In the same cooking you got girl-groups of the fifties (Chordettes style) mixed with the Beach Boys (all the album is under the strong influence of Brian Wilson, not far from plagiarism here and there) mixed with the Led Zeppelin drumbeat, rock 'n' roll of the late fifties and Lully. It was quite impossible that the whole succeeds to make any impact in the year soul and funk were gangrening UK rock (and the cover sleeve was we must admit, rather awful). Sad cos' now, it's quite obvious that this is a great album. Not perfect, sometimes totally out of control and out of good taste, but the sort we like we, like me, we like weirdoes using music to propose something else (as was the name of a Move EP). Sad cos' "Looking Thru The Eyes Of A Fool", released in single, would have deserved to be a hit. And because "The Song" is a hell of romantic and tear-extracting song. On it, you can hear the then (or future) Roy girlfriend, Annie Haslam, yes the Renaissance singer, and Phil Everly. Roy Wood plays almost everything on it as he use to do on his solo stuff. I was not in the idea to post this album previously because I thought it was quite easy and unexpensive to get it, but a visitor called KDNYfm told me it was actually expensive and difficult (I checked it and it's true) so here it is, not letting this gem drown in oblivion.


Uzala - s/t (2012)

Has doom found its Grace Slick(Jefferson Airplane singer for the youngest or most ignorant among you)? It is likely when listening to the voice of Darcy Nutt raising from your grave oops... your speakers. But this is not the only thing great about this band (is the name from the Kurosawa film? Don't know) since almost everything is great in it. It's doom as I love. Atmospheric but never arty, rough but melodic, traditional but never repeating an old and used formula, inclined toward religious incantation but pagan and down-to-earth, sad as the death of someone you affectionate but peaceful as your own death. The kind of music you can drown in, the one I'm digging as one day I'll dig my own grave oops... here we go again. Not a weak track, a sparkling version of the classic "Gloomy Sunday", this band from Portland adds its force to the batallions of the doom army that help us to survive through this uninteresting and bleak existence. Without any hesitation will be in my Top 10 of the year, at least in the doom category (and maybe all categories, it will depend on the releases of the next 7 months, times are quite luxious in great albums). Enjoy it here but you must support them the best you can in going to their shows and buying their stuff. It's not an advice, it's an order. Their bandcamp here.


Melanie - Replay (1999)

This post received a severe comment recently by "Any middle-aged German Witch in Amerika" saying it was frustrating that I decided to select my fave songs among the 20 reworked version of Melanie's songs comprised on this Czech compilation. She was right and I wonder why I did that since I usually try to put as much rare material I can find from Melanie. And more stupidly, hearing again this compilation, I don't even share my opinion of my previous selection. So  in this reworked version of my own post I provide the whole load of reworked songs included. Accept my excuses, I won't do it again. More Melanie to come (since this severe commentator sent to me some rare gems I will post as soon as possible). Enjoy it here.
Here below the text I wrote for the post
"Hell is paved with good ideas, and some bad ideas can lead to heaven. Maybe not heaven but a good surprise actually. Cos' who could think that to do modernized covers of old hits could have led to anything else than disaster or at least useless versions? It's not the case but I must confess something. I did a selection among the 20 songs reworked by Melanie and Peter Schekaryk. Released on an obscure Czech compilation called Beautiful People with a totally inappropriate cover sleeve (here) showing a young Melanie plaing guitar while singing, it featured very different approaches of these songs, some being only a re-arrangements over the original ones, with Melanie singing over her original voice. A shame. Others featured funky arrangements, that seemed to have been recorded much earlier than 1999. Last, there were songs played with delicate and efficient accoustic arrangements, backed with bass and drums and that showed how Melanie was able now to be a complete singer, moving and powerful (sorry for my weak vocabulary). There are some gems such as the version of "People In The Front Row". But I don't think there is a weak song. I did a decent cover sleeve and now it can be added to the complicated 90's Melanie's discography".
People in the front row. I was out of love, and out of my heart I couldn't quite stop something that I didn't start Yeah, the critics said "No" I didn't know how I came, so I couldn't go Oh oh how could you go when you don't know how you came Oh my predicament grew now I got friends And I think that my friends are you, yeah. I looked around for faces I'd know and I fell in love with the people in the front row My predicament grew now I got friends And I think that my friends are you, yeah. Oh Oh how can you go, when you don't know how you came so you don't know Oh My predicament grew now I got friends And I think that my friends are you.


Ronnie Lane's Slim Chance - One For The Road (1976)

If one album deserves to be posted in a blog called Forgotten Songs, this is this one, cos' it's full of great underrated and forgotten songs actually. Put the shame on the times (1976 was not a year for such music) on the cover sleeve (I always thought it was a live recording) or on the "tramp" imagery that was to be totally unrelevant in this period, but it's true that the album was a commercial failure although a musical jewel. The most Dylanesque of his authors, he actually paved the way, according to songs, to the Waterboys, the Pogues and even the Jacobites, and finally to Americana in a way. Who could say more? The general mood is rather melancholic without being sad. Contrary to the somewhat weak and erratic previous album (called Slim Chance) this one is focused and without any bad song. "Burnin' Summer" is one of Lane's greatest songs and "Harvest Home" a wonderfully delicate instrumental dedicated to an old woman found dead in her farm when farmers were coming back from the harvest. So, this is one LP that should feature here to get the light it would have deserved at the times. Fortunately, 2 years later, the collaboration with Pete Townshend would help Ronnie Lane to resurface again in the public view. Enjoy this gem here. Interestingly, Chris Thomas mixed the album, which is not always specified.


Melanie - Bitter Bad / Do You Believe? 7" (1973)

One month after the Stoneground Words album and the relative failure of the 2 singles released from it, Melanie tried to issue a more pop-oriented song. It was called "Bitter Bad" and strangely, the rather happy musical background is denied by a totally depressive text. The bet seemed to pay since the single reached n°36 in the US, the best range since "Ring the Living Bell" one year before but far from her highest expectations. The song is not one of her best, only decent, but is an interesting addition to any Melanie discography. It is not so often included in compilations (it was on the Rhino's Best of Melanie) so it's good to have it here.

It's bitter bad, heartsick sad When the one that you love has lost the feel for you If you do me wrong I'll put your first and last name in my rock ‘n’ roll song It's bitter bad, he's got the nerve to get mad When it's he who lost the feel for you Oh what a life, what a mean low down world You've been doing my stuff with another girl You've been doing my stuff with another girl It's bitter bad, he's got the nerve to get mad When it's he who lost the feel for you Oh what a life, what a mean low down world You've been doing my stuff with another girl You've been doing my stuff with another girl If you do me wrong I'll put your first and last name in my rock ‘n’ roll song It's bitter bad, heartsick sad When the one that you love has lost the feel for you When the one that you love has lost the feel for you When the one that you love don't love you anymore When the one that you love has lost the feel for you