Time and mental energy are lacking for posting as often as previously and I fear the frequency of posts will be rather low over the further months. Moreover I feel having posted most of the stuff I wanted to share when creating this blog. Last, the constant menace of my files being removed, my post being shelved and this blog being closed finally lead me to associate this pleasure with threat and there is enough of that in my usual life. Tonight, I post not a rare thing to find, cos' it's available even on the radio that broadcasted this live set (WFMU), but this is such a dramatic testimony (Nikki Sudden would die 6 days later of heart attack) that I can't help to put it on this blog too. I have 2 other live sets from him to post but I need to find the titles of the songs and you'll admit that only complete Sudden followers can guess which song he's singing, they are rather similar (as are Neil Young or J Mascis ones). This recording sees Nikki on acoustic electrified guitar backed by Danny Hole on drums. Not always timed, it's a crude, raw, to the bones document showing that finally Nikki Sudden was the son of the legendary bluesmen. He covers Bolan's "Zipgun Boogie" and since I've always thought that Bolan was also a bluesman, the circle is closed. True that the whole end of the set is rather under Bolan influence. There's unfortunately not the emotional content in the songs he chose for the playlist that there was in some of his other prestations, but his near death of course gives retrospectively to this recording a special dimension. We have all our own Damocles sword bending over our head after a certain age. I did a virtual cover sleeve using 2 pictures from the session. Enjoy it here.
Received a DMCA requirement to remove this single. Strange since it was released on a Do It Yourself label. Funny how corporates (don't even know who it is, not any source mentioned, I'd like to know how the fuck they could say this material was theirs) don't help young artists at the beginnings but they don't forget to make money from them when they are over. I'm sure doing more for helping the Only Ones to sell records that would ever do those asking me to remove the link (that I removed). I don't have many illusions and know that soon this blog won't be able to post anything but while it's possible, let's go on. Note that this single was posted more than 18 months ago.
WTF! I didn't reup on rs the Only Ones singles discography after my mf was removed and nobody left a message to ask me for? But in what troubled world do I live? It's a shame. So here it is, they are all reup and dlable again. The first is this immortal gem but not any Only Ones song is less than to possess. Below what I wrote in the initial post (I don't read it again, I'm always horrified by the mediocrity of my poorly written texts so I spare me some pain for my low-self-esteem).
Here the first post about Peter Perrett, surely one of my fave composer/singer/human being on the music planet (almost the only planet that deserves to be lived on to my eyes). First I'll post the Only Ones singles in their chronological order, then most of what he did after the band broke. I don't think it's any use to make a presentation of the band. If you want to know more, there's plenty of sites (even wikipedia) to inform you. For us, in 1977, it was the only band able to maintain what we still loved in the seventies and what we had learned to love in punk and new wave. It was as if Dylan, Lou Reed, David Bowie, Marc Bolan and Ian Hunter had regenerated in a fragile elf backed with one of the strongest band of all times. It was anachronical in 1977 because it was untemporal. This first single was released on a label created for the occasion with a surrealistic (but punk) cover sleeve and featured two extraordinary songs. It's difficult to imagine the band was created some weeks before rather artificially by Peter Perrett with 3 musicians from various horizons (imagine that the drummer, Mike Kellie, had been in Spooky Tooth from 1967 to 1974, not a newcomer actually) and that they had never played together previously. Such an alchemy is usually more frequent in love stories than in rock music. Released in June 1977, I bought it immediately and was rather shocked that it wasn't more noticed by my pals. But soon they would be more, much more. Meanwhile, here's their first gift, one of the strongest thing (with the Saints) 1977 gave us. Enjoy it here.
This is an unexpected surprise to hear this great album that is The Human Menagerie in its demo raw version. What's extraordinary is that the songs (not in the final order, an order that seems to have been wished by the band judging by the notes on the tape boxes, a rather bad order actually, with desequilibrated sides, a first one full of sad and slow tempo songs, and a second full of rocker) gain a contempory dimension when they lose the grandeur the wonderful orchestration of Andrew Powell gave them. On some songs, I have the impression to listen to the incunabulum of Felt/Denim or some bands from the Cherry Red label in the eighties. Moreover, there's a trad. English folk flavour in the songs due to the acoustic guitar and violin duo (don't forget the superior beat of Stuart Elliott, one of my all-time fave drummer). These versions were unburied on the 4-CD boxset released this autumn and I can only encourage you to buy it, first because neither an MP3 will provide the quality of a CD or vinyl, and second because there is much more to discover on this boxset. I added "Judy Teen" on the album although it was actually not intended to be on it, but I think it would have been too cruel to deprive the visitor of this unreleased song that was recorded during the same sessions (I suppose, since the dates of these demo sessions are not written on the liner notes, whereas the date of the "Judy Teen" one, March 1973, is). Last, I often wonder how critics can be so blind and deaf on Cockney Rebel case, since the birth of the band until today. For example in Uncut, although the boxset received a 8/10, the condescension, the disregard for the band is shocking. Why always cite Dylan, Bowie, Lou Reed and Roxy Music? Of course they were influences, but what is the fuck when the result was so great and so singular (singular band as the title of the song). Who noticed the folk influence? The Felt legacy? And Ray Davies, who was more an influence to my ears that all the supposed ones cited. No, they are only repeating again and again that the band was plagiarists of the 4 aboves. Even these influences were influenced (just listen how Dylan was a Woody Guthrie imitator in his youth) but propose something entirely new. To compare the metaphysical and symphonic "Death Trip" to the drug-focused and rock "Heroin" is a total nonsense but Jim Wirth from Uncut did it. You'll read more interesting things on the band here althought I don't agree with all. But let's forget it and enjoy here this piece of genius here. I created a cover sleeve cos' I like that. Not fantastic but honest I think.
I reup this compilation because I added "Mighty Joe" and "Wild Wind" to the file that I had omitted in the first one. So if you caught the previous version, dl the new one. Thx to Dr Fu Man Chu for noticing this omission.
I won't say much about this Dutch band since I posted previously all these singles (the period Mariska Veres and Robbie van Leeuwen were together in the band) on Forgotten Songs (here). If I gather all these singles on one compilation is that I know many of you love to have them all pooled on one support. But for details and cover sleeves, go to the individual posts. I've always loved this band (and was even a little bit in love with Mariska when I was 11). I was a little disappointed recently, discovering that their "Venus" was an old American trad rip off ("Oh Susanna"). It seems everybody knew it but me, that relativized my so-called musical erudition. But this band was not a one-hit one contrary to the usual idea, and I recommend to buy everything they recorded and released over this 6-yr long timespan. Of course, it's not a major band, but there's a special charm I never founded anywhere else. Note that for me, The Devil's Blood (also Dutch) are some kind of Gothic/Doom Shocking Blue. I did the cover from an image done by a Shocking Blue fan but I forgot his name. Sorry if he sees his work used. Hope he'll forgive me. Or I'll change it. Enjoy this treasure here. Below a splendid youtube compilation (actually, these clips are most of the time ridiculously bad but we can see Mariska) of some of their hits.
This update to inform that I've reup on rs this album. It was a request and I did it. If other albums or records have dead links, please ask in comments, I often fix them in less than 24h. An occasion to remind that this Procol concert is fantastic.
One month before the official release of Exotic Birds And Fruits, Procol Harum plays a show in London (at the Hippodrome Golders Green) intended to be broadcasted on the BBC, this the same month that John Peel would have them for a Peel Session. It seemed that the big time was here for the band, quite a surprise in the UK where Procol Harum had never succeeded to impose his singular approach of music. But the future will show that it was only a mirage and that the rest of the year will not see any triumph. It must be remembered what a particular year is 1974, with glam rock reaching its peak, occulting quite everything else except progressive rock. However, the band is here in its best formation to my ears, and their set is strong (as Samson) and precious (as Delilah). On the 11 songs featuring in this record, only 9 would be broadcasted (the reason 2 have quite bad sound mix since the master is lost). This was released by the BBC only in 1999, after several bootlegs, with weak but not so bad quality, were to be found on the market. But the sleeve of the Strange Fruit recording (funny coincidence that the label of the BBC recording was called as this) was totally crappy. Since 6 among the 11 tracks were a teasing of the Exotic Birds And Fruits album, I thought it was a good idea to give this name to the LP. I chose a painting from the same artist than the original Exotic Birds And Fruits album, Jacob Bogdani, a Hungarian painter born in 1660 and who lived and died (in 1724) in London (go here if you want to see his work). I included the complete painting in the rar file. About the music now. The concert is an opportunity to understand that the band had decided to leave its symphonic and its melancholic sides behind, and was much more in a social rock period targetting most of people having the power on others lives (conquistadors, men of power and money on "As Strong As Samson" and "Nothing But The Truth", Label directors on "Butterfly Boys", idol makers on "The Idol"...). BJ Wilson is shining throughout the concert but it's now tautologic to write this since this drummer is solar. The other great man of the show is Mick Grabham who surely has been the best guitarist of the band throughout his history, and whose Gibson sound is totally my taste (this thick sound that had been the Guy Stevens mark between 1968 and 1972). But I talk too much. Enjoy this show here, it's a splendid addition to the ones posted lately, and some others will come.
Bringing Home The Bacon. Bringing home the bacon, Tender juicy steaks Breast-fed baby dumpling Gobbling up the cakes Milk-fed baby dumpling, Slobbering, goo-faced, mean Wet-nursed sour purse spot face, Blubbering in the cream Emperor baby dumpling, Loaded, bloated curse Mighty baby dumpling, Stuffing 'til he bursts
Below, "Bringing Home The Bacon" in streaming because it's a wonderful song to see how great he was, but also because he quite misses some of his effects on this version and it makes him still more touching (he was a human, he could fail). And 2 videos from a German TV show where we can see how the band could play almost anything from the waltzes of grand Hotel to the blues-rock of Drunk Again with the same class. No one able to compete.
I decided to stop separating doom - sludge - noises new releases from oldies. When mf closed my account last July (due to a complaint of At A Loss Records, "go to hell bitch" would say Jesse Pinkman), I spread my two passions on different blogs, posting doom - sludge - noise on Dim Damn Doom (here) but without posting free dl anymore. It's true that it is not very consistent to support bands in providing their stuff for free. I usually encouraged visitors to buy the music afterwards, but I fear few were doing it. So, on DDD I only included the bandcamp or soundcloud link. But DDD has very few visitors, I posted only rarely (not so much bands in these genres I find interesting compared to previous years). And last, it's a shame to participate to this silly way to listen only to old stuff or new one. In the recent compilation I posted about my best of 2012, it is clear that all was mixed, from the Beach Boys to Sonance and that it was a stupid that FS did not show this mixed approach thoughout the year. Thus, while I'm editing a compilation of all the A and B sides from the Shocking Blue singles (next post I think), I add one of the best 2012 LP, from a UK band, who would have deserved to be in the Top 10 maybe (but I added Huata instead).Described as "Violent, misanthropic doom, blended with sludge and bound with ale - equal parts despair, disillusionment and all-out hatred, steeped in alcohol and thrown to the baying crowd. A sound as relentless as a mammoth trudging towards better lands, as heavy as its mud-encrusted testicles, and so loud that we will shake all the saints and angels down into Hell", I don't think I could add something better as a presentation. It's really heavy as human condition throughout this world of desolation, exploitation and humiliation. And yes, this incredible guttural voice comes from the throat of a woman (but if you know the genre, you won't be surprised, there have been others in the past). So listen to their bandcamp link below and buy the limited edition digi-pack before there are no more. Note that this album featured in several Best of 2012 lists. Yes I'm a fucking asshole, it should have been on mine.