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.
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).
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.
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.
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.
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).
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.
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.
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.
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.
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.