Back to the basics: Melanie. And the basics of the basics: her first single under her name (the previous one was under the collective name of Mommy). Don't imagine you got this song on so much compilations you wonder why I waste time posting it. You don't. All versions of this song were the one recorded more than one year later and released as A-side of a single (Buddah 135) in September 1969. Much heavier orchestration than in this one. So here it is at last. On the other side (actually this single was without A and B-sides but had 2 A-sides with different covers), I included no less than 3 versions of "God's Only Daughter". Two are studio versions, different for sure, but I'm in the incapacity to know which one was on this single (that I don't own and didn't find any trace on the net). They are not very different, and I can't make my mind to whether was on the single. The most intriguing is that each seems to provide from the Please Love Me compilation LP released in 1973 and I do not know why there would be 2 different versions of this song in the same LP. Even the great Rober Ian Smith site here doesn't tell anything about these two versions. Or maybe it's the speed of the recording which gives this impression but I don't believe. So they are both in the file. The 3rd version is a live version by Melanie recorded at Greenwich Village in 1968. Enjoy this first Melanie shot (not yesterday I must admit) here. This post wouldn't have been possible without the help of Albgardis. She is deeply thanked.
Just a reminder that this album is a total rarity and that I'm quite surprised by the small number of downloadings in regard to the other more easily available ATV records I posted. In case you missed it, I reupdate it today. Below what I wrote in the original post.
I think this one is quite a rarity, and more important a truly forgotten masterpiece. Called Dragon Love, recorded between the splendid Peep Show (in 1987, here) and the underrated My Life As A Child Star (in 1994, there), it was released by a small label called Chapter 22. Released? Mark Perry doubts it ever was. "I don't think the album ever saw the inside of a record shop" he writes in the innersleeve notes of the ATV Anthology. I don't know but it exists. The proof is I got it and that I ripped it and posted it today. Recorded with James Kyllo (who composed and sung some songs and was a good partner for Mark Perry), it contains 14 songs, none of them being less than good, and some being real gems (all Mark Perry's ones but I'm maybe not very objective). It's a real shame that songs such as "Last Rites" "Never Gonna Give It Up", real classics, did not receive the exposure they deserved. Not so dark than Peep Show, not so lo-fi indie than My Life As A Child Star, it's maybe the punkiest album Mark Perry did in the eighties and nineties (listen to the stunning "Don't You Leave Me"). It's a shame these days he only recycles old punk tunes and does not propose anything new again or picks up some songs in albums such as Dragon Love. Hope someday, some label will have the good idea to re-issue it on CD. Meanwhile, enjoy this gem here.
Here we go again. And for this post-hollyshitday (I've been close to finish my life in strange conditions but I've survived so don't talk about it) I come back with a single I wanted to post for a long time now and that I am able to post today only cos' I received the CD source to put the B-side on. Actually, this is the first solo single from Robyn Hitchcock, released in April 1981, some months after he disbanded the Soft Boys, although members of this band all play on this single and his first solo LP (Black Snake Diamond Role that I expect to post one day the complete version of 20 songs). There's one mystery about "The Man Who Invented Himself". And the mystery is the following one: on the original vinyl single and LP, there was some horns on the song, but strangely, this horny version was replaced on all CD versions (3 reissued of Black Snake Diamond Role and several compilations) where this was a non-horns version that featured. What is the Fuck? Some say the master was lost but who cares? We want the real version of the original records, we are not kids anymore, we want the real thing. And since this version was released on the Chronolology compilation last year it's dubious that this damned master was lost. So now it's possible to post this single without doing an uncertain ripp of the vinyl single (that I bought the day it was issued). And the horns versions is much better than the one you can find everywhere. And it's strange that the B-side was not on the album since there were weaker songs on it. Enjoy it here and more joy to come.
Forgotten Songs won't have new posts over the next 15 days (except if I'm in situation to add one but I don't think I will). I take some time off this "dirty old town, I have to leave the city cos it really brought me down" (lyrics of the Ray Davies "Holiday" song you can hear and watch below). I think I'll be back except if a great big bear eats me (poor creature, not the best sustenance for such a wonderful animal) cos' I'm going in the Pyrénées (yes dear US visitors, the one mountain cyclists climb so quickly that it's not a surprise they are caught stuffed with more chemistry than Keith Richards' blood has ever seen in his whole life). But you don't care and you're right. I fucking don't exist for you, I'm only the blogging postman and it's perfect this way cos' I'm not really much more it's true.
Holiday, Oh what a lovely day today, I'm oh so glad they sent me away, To have a little holiday today, holiday. Holiday, And I'm just standing on the end of a pier, Hoping and dreaming you were here, To share my little holiday. Lookin' in the sky for a gap in the clouds, Sometimes I think that sun ain't never coming out, But I'd rather be here than in that dirty old town, I had to leave the city cos it really brought me down. Oh holiday, oh what a lovely day today, I think I'll get down on my little ol' knees and pray, thank you Lord, Thank heaven for this holiday today, holiday. I'm leaving insecurity behind me, The environmental pressures got me down, I don't need no sedatives to pull me round, I don't need no sleeping pills to help me sleep sound. Oh holiday, Oh what a lovely day today, I think I'll get down on my little ol' knees and pray, That's what I'll do, Thank heaven for this holiday. Lying on the beach with my back burned rare, The salt gets in my blisters and the sand gets in my hair, And the sea's an open sewer, But I really couldn't care, I'm breathing through my mouth so I don't have to sniff the air. Oh holiday, Oh what a lovely day today, I'm so glad they sent me away, To have a little holiday.
I update this post to inform vistors who left me messages that I reupload the Family singles that I did it tonight so they can have again the complete A and B-sides of the band's singles. And this one is surely the rarest of all.
Today, the first post of a series about the Family singles discography. After Kim Fowley found their name and recorded some demos for them (unfortunately unissued to this day), Family took their future in their hands and recorded for Liberty this single released in September 1967. Clearly in the psychedelic post-"Strawberry Fields Forever" style, rather under the influence of Traffic (the band had released their 2 first singles), the A-side shows that the band is far from being a naive and mellow one as too many were in this movement, and the inner violence can be felt under the psychedelic arabesques (really dated when listening to them now). The B-side is also Traffic-influenced, but more by the soul side of Steve Winwood. A rather difficult to find couple of songs, only released on the 1999 See For Miles collector limited edition of Music In The Dolls House/Entertainment re-issue. So 2 forgotten songs for sure. Enjoy them here. Since the single had not cover sleeve, I did one based upon the lyrics, at least considering what I can understand to them. Below is a picture of the band who recorded this single. Note it's Harry Overnall on drums (only time he would be on a Family recording). Note also that it's a much better quality version of "Scene...." than the ones you can find on the web (don't thank me, I'm only doing my (unpaid) job.
I'll be honest. I'm not totally sure all these songs were recorded at the Stonehenge Free Festival on the 20th June 1978. Let me tell you why. "Another Coke" was on the Live 1978 LP released by Overground and was actually said to be recorded at the festival. There was also "Splitting In Two" on this album, the same version that we could find on the A-side of the What You See... Is What You Are split LP with Here & Now, an album said to be recorded at the same festival (the same year of course and surely the same set). So, I added the songs from this split LP to "Another Coke". The problem is that it's not clear whether all the songs on What You See... were recorded at this festival, some are said to be recorded at The Albany Empire but it's not specified which ones. So, fuck off, I gathered them all and let's say that we are near the Stonehenge monumental stones with Mark Perry singing about masturbation and being raped when a child and feeling splitting in two and suffering. Surely the hippies were a little disoriented by such a lyrical content when they were waiting for some cosmosconic gang bang party with the stars (the reals, not the movie ones). On a more amusing side, let's read what Mark Perry told about this experience "I remember when we went to Stonehenge. Can you imagine, this muddy field with hippies everywhere and I had to sleep in this tent which I dreaded because I hated tents. And in the morning I said, "Where do we get something to eat?" and they're all laughing at me, these hippies. "Cook it yourself, man, what's the matter with you?" I said, "Where's the nearest town?" "About a four mile walk." And I said, "Where can I get a taxi?" ....they thought we were such softies. They were used to it. They'd been travelling around on a bus, playing fields, begging for money. They'd been living the life. And we turned up in our van straight from home!!" Enjoy it here (rs) or there (mf)