Today is the Day - Temple of the Morning Star fake EP (1998)

To celebrate the release of the new, and truly fantastic, album from the band (Animal Mother, out in some weeks), here a re-up on M of one of my favorite songs any band any period any style. Can't imagine one more relevant to the worst moments I lived in my full-of-anguish nights (and days too unfortunately). The Cioran and Munch's Scream musical equivalent. Nothing to add except to catch this compilation of the 4 versions I gathered on this fake EP here.

Third repost of what is one of my fave song of all the times. Here I gathered the 4 versions I know of this song, in widely different versions. From the most acoustic to the most noisy. My fave is the radio one (the 3rd). I think the lyrics are the most accurate and relevant ever written in rock history for people living with the same sort of brain than mine (and apparently Steve Austin one that year). Compared to that, most of music seems rather useless. I created a streaming with the 4-song pack in the range.

If I repost this fake EP it's because honestly I don't want to post anything unrelevant with my present state of mind, and I don't want to let the blog down too long. Below, what I wrote in the post last May. I can add that I saw Today is the Day play live again last spring and it was pretty terrific once more, although the version of this song has no more the strenght it had when it was composed. It's really a sort of hymn for some of us and, although I won't, as some, tattoo the word on my skin (that I left the way it was when I came to life, except what time has done to it), I'll surely try to make it appear somewhere on my grave or in any personal relics, except of course if I die in some shithole where nobody will find my cadaver.

Let's begin again with what I consider one of the most powerful and moving songs in rock history and which gave its name to an album 13 years ago. The author is Steve Austin, the leader of Today is the Day and only surviving member, the band's constant line up change being not far the Fall's one. I've seen them live 10 days ago here in Paris, and it was, as always, stunning, acoustically deafening and emotionally strong. Now Steve Austin is 45 years old and it's good to see he has crossed all these years and is still as intense as ever when so many mellow with age. I gathered here, under a self-made cover sleeve taken from a fantastic pix by I don't remember who, 4 versions of this song, 2 in their acoustic ones, 2 in their electric ones, all from the 1997 period of its creation. Can't imagine something illustrating more clearly some inner states at night when you feel you will give up and leave this fucking tedious and oppressive world. Don't stay on your old music models. Genius is here too.

Temple of the Morning Star. I wake in cold sweat / And there is no one who cares / This life / No life / It's killing me / I am slowly dying / I can't be what you want me to be / I am dead


Kim Fowley - Son Of Frankenstein (1981)

Nobody asked me to re-up this one but I see some visitors have clicked on it and they probably were disapointed to see that the link to the file was deleted. So here it is again. A way to have a "pensée" for Mister Fowley, who passed through hard health times these past years. We had no news (even his facebook page was hidden) but now he gives again. It's terrible but he's still here, and freshly married with Kara Wright). Incidentally, I really like this album. Some of the tracks are among my faves.

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.


Alain Z Kan - Parfums de Nuit... LP (1986)

Nobody asked me to re-up ithis LP but I do it since tonight it's about the only thing I could listen to without thinking it's vanilla music. An album that has never been released on CD format although it's one of the best ever recorded in France. And corporates will say they worked for keeping the memory of music alive. Bullshit. Catch this gem here. Lyrics file there.

This is surely my greatest proudness to have offered this LP to free listening for everyone on this planet. Never reissued in CD, this is a great loss album of the most intriguing, excentric, profound and tortured-soul singer composer of French music over the last 40 years. Below, the two posts about this album. Presently reading some Artaud diaries, this is the musical equivalent. Never be forgotten. Still here for public and private ears. The lyrics sheets (here). I added some songs to the streaming listening. Below what I wrote in the initial post (with some corrections). And videos from a concert in Annecy, France (can this be called a concert? So few people, some tapes behind, this was really sad, what a shitty country I live in, what a bore) around this era. Four years later, he would definitively disappear from public view.

This is the last album from Alain Kan. Four years later, he would disappear, really disappear, and nobody knows, even today, 26 years later, whether he's dead or alive. Maybe he's somewhere inbetween, with some strange creatures, probably night creatures, floating in the stinky air of Pigalle, looking with a sad smile tourists fucking with prostitutes in the darkness of bars with carpets red as blood and faces white as sperm. Pressed and distributed by the New Rose label, this incredible LP has never been edited in CD. It's a shame, a real shame. To really take the measure of the genius of Alain Kan, one must listen to this album. Not because it's better than the previous one, Whatever happened to..., a classic masterpiece. It's actually very different. No, but because here only calling Alain Kan an Antonin Artaud or a Egon Schiele of the music scene takes all its sense. Always flirting with "la folie" (strange, it is the name of the club in Annecy where he played at the times of this album), this is what rock should be much more often. Crucial, visceral, seminal (from semen). This is what only some singular personalities such as Peter Hammill, Kevin Coyne, Simon Finn or Alex Harvey, cab offer to humankind. An illustration of our internal devils, our vices, our disgusts, and the sickness that contemplating the filth of the world generates in our minds. Actually, this is one of these rare moments when we think that the French language possess (in its demoniac acception) something that English cannot carry. A quality of evocation in the writing and the singing that only Brel, Ferre, Barbara and Piaf were able to share with the listener. But here, for the first time, it is in the context of rock music, a style not perfectly appropriate to the French language for reasons that would need a long analysis by linguists, but I'm not the right man to do it. The last song of this LP, "Schwartz Market" is the most extreme vision of Hell's Dante that has been proposed in music. Compared to it, all the Grindcore scene seems little kids playing with their excrements to feel like rebels. If I decided to create this blog, it was for 2 reasons/names: Alex Harvey and Alain Kan. I could have built a fan club blog but I'm too old to be a fan and I'm not a fan of fan blogs (or sites). I did not think that I would post albums but I'm not sure this one will be posted anywhere soon so I give to who wants it. Impossible to say enjoy it of course, but if you want a very special trip, try it here.


Van Der Graaf Generator - Singles (1968 - 77)

Another re-up fo VDGG due to a request. I have my VDGG periods, and periods I can't really listen to them. I am in one of the latter but no problem to re-up anything on this blog notwithstanding my present state of mind. Hope to have photoshop back soon and to be able to create new cover sleeves and publish new material. Meanwhile, don't hesitate to ask stuff you'd like to see re-up. This fantastic collection here.

Once again I gather on the same compilations all the singles I posted individually on FS previously. You may think I'm a little lazy to recycle old stuff through these kind of compilations but I know many prefer to have all the singles in the same file, and moreover it makes the band appear again on the front page, and last it provides me the pleasure to create a cover sleeve (guilty one would say some real graphic specialists). Here I used a photo-manipulation called Guarding the Graveyard by a certain Matt the Samurai. It's great and fits perfectly with the material. Moreover it is similarly incongrous for a single compilation LP sleeve than VDGG was as a singles band. And the devil knows some of Peter Hammill's songs featuring here could have been hits... on another planets, where people would have good taste. I hope songs are in their true original single versions, cos' I hate to provide a wrong version (LP one, remixed one or anything else). The only voluntary exception I did is to put the complete Meurglys III version and not the Edited one cos' it's criminal to fade this song. So you got the 20 min long one here. For the other ones, I trust my initial post where I did my best to find the real version that was on the original single (and some of the songs here have been released in different versions on the corresponding LP). Note at last that the last single was released with a different line-up and without the Generator in the name but I don't think it's a real problem.


Melanie - Ooh Child Fake single (1973)

A much better sounding version of this unissued and wonderful version of "Ooh Child" has been sent to me by a US-from-Germany visitor and Melanie fan who told me that the song was actually recorded in 1973 for the birth of her first daughter and not in 1970 (see comments). Unfortunately, the version is more about 2 min shorter, the great ending instrumental being faded prematurely. So, I put the 2 versions in the file. I tried to improve still a little bit each version with MP3DoctorPro2 and it's not bad. So catch this rarity here. A good opportunit to celebrate the 3rd month of life of the grand son of rough.

Today the daughter of my "bro love" rough mix  had a baby, a son, and this post is a way to celebrate this event. It's a rarity, an unreleased and unissued cover of the Five Stairsteps, a soft soul band signed by Buddah records, who had a hit with this wonderful song, here covered marvellously by my "singer love" Melanie (yes, I know I'm a little bit oecumenic tonight but let's be like this once a year), who shared the same label. Her version is honestly the most moving I heard and there have been quite a lot in the last 50 years. But I'm not objective. Why did this song never find a path on a vinyl release, it's a complete mystery since it deserved to find. I don't even know when the song was  recorded. Surely in the early seventies but I'm not sure. Didn't find any details about this song on the web or in the books about her I have. If you are a Melanie fan have some deeper knowledge about this song than me, don't hesitate to insult me for my ignorance and light my lantern. The version I found is rather of poor quality and derives from You Tube. I tried to improve the sound with a MP3 enhancer and the result is not so bad (but don't forget I'm not a sound engineer). What's very interesting is that it's more than 5 min long and that the atmosphere has the time to catch you by the ears and soul. And that there are true musical arrangements. For the cover sleeve I used a picture of baby Melanie of course. Don't see what could have been more relevant. If the song was initially intended to talk about the situation of black people in the US, it can today be used for almost every child born in a hard-living part of the world or in a poor area of any society, whatever his or her colour. And for today, it is dedicated to the rough mix grandson, hoping the lyrics will be his reality. Some words about the last post (rs inflated rates). It seems they have postponed their new rates to the 1st of July. Don't know why. What I'm sure of is that I won't be richer next month than last one so I won't pay their gangster accounts fares. Don't have found any alternative to this day but I keep on thinking of it.


Adam and the Ants - The Decca Demos (August 1978)

A re-up of these Decca demo session recorded in August 1978. Requested by a visitor recently. Catch it again here. Hope I'll be able to see Adam live soon (missed him last spring in London). I'll post someday the next Decca session from December 1978).

One of the great news of last year was the Adam Ant come back, with a great album and, more strangely, a great look (and a good band to back him). If there was one of my ancient heros I didn't expect anything more, it was surely Adam Ant. But here he is and it's really a nice feeling to know he's with us again. So, these late days, I'm listening to his old stuff again, first because although I liked the Pirate period, it's rather certain than his beginnings with the Ants were artistically more interesting, and moreover because he has the great idea to play the Dirk Wears White Socks album in his coming tour and it's a manner to associates this blog to this event. Not that I post the official LP (this is not the philosophy of this blog) but I gathered from various sources the demos the band recorded in August 1978 for Decca (and not in December, that I will try to gather for another post), more than one year prior to the release of Dirk. During these sessions, the line-up consisted of Matthew Ashman on guitar and  Dave Barbe on drums, who would leave to form Bow Wow Wow after the Dirk LP, and Andy Warren on bass who would leave for The Monochrome Set. The music played here is rather rough and edgy, influenced actually more by some progressive bands of the seventies (with a touch of Krautrock and a Velvet Underground flavor) than by straight post-Stooges punk, but what's surprising is how this music has aged well and has been a source of inspiration for so many bands in the late 90's and early 00's (nice number for a decade). However, I've tried to rectify the sound the best I could, using the best sources for each song, but of course maybe there are better and it's still not equivalent to the sound of an official LP. But believe me, you will listen to that quite often once you played it the first time. It's rather addictive. I think the cover sleeve would have done a nice one for an official release. I don't remember where I found the picture but I immediately thought it was relevant to the content.


P.P. Arnold - Singles A's & B's (1967-68)

A welcome request since PP Arnold is one of my fave female soul singer of the sixties. Too sad she didn't achieve success she deserved but with Roger Waters she found another way to reach stardom. Here her Immediate career backed with bands such as the Nice or the Small Faces. Unmissable. Catch it here.

Imagine. In 4 years (from 1964 to 68), this young woman has been (in chronological order), an Ikette (chorist for Ike and Tina Turner), an American girl in London getting friendly with her compatriot Jimi Hendrix, the Precious black Pearl (as PP) of the new label Immediate, backed by musicians who will become the Nice, the closest singer of the Small Faces, influencing Steve Marriott for all his life since he'll do for her what he'll later do with Humble Pie (around 1973), a successfull hit singer with songs topping the charts, and ... a has been. Like a summary of a whole career in only 4 years. And some say that present times go fast. Not so fast that they used to go in the sixties. PP Arnold is one of my fave soul singer, and, more than that, one of my fave whatever style we're talking about since during the 2 yeas with Immediate, she sang a wide variety of styles. She did 2 LP for the label, and they have been reissued almost twice, the last time in 2001 on Castle with bonus tracks. There was a life for PP after this vertigo, but not so glorious actually. After Immediate disappeared, she quite did the same although it's her who sings on the Nick Drake's "Poor Boy". Before and after this enchanted "parenthèse" she faced several dramas in her life (she had 2 children before 1966, before the age of 20, she had another one in 1974 with the bassist of CSNY, and she lost her daughter at the end of the seventies). She had a second career at the end of the 80's with techno bands such as The Beatmasters and KLF and since then British musicians did not forget her (in particular Paul Weller and Roger Waters) and she can live her passion for music although she should have merited to have her own solo career. But back to our today's post. You can enjoy the 9 songs from her 5 singles (the B side of the 1st and the last is the same song) here. Below, I put in streaming the only song of the whole written by her ("Though it Hurts Me Badly") and one of the most beautiful of the 30 she released during these 2 years at Immediate. Cos', as Billie Holiday, Mary Wells and Janis Joplin, PP Arnold was an overlooked composer, a machist vision who constrained women with voice to interpret when they were also fantastically gifted for writing songs. Below lots of videos from youtube. You can see her singing her single A-sides at The Beat Club, and also her collaborations with the Small Faces (look at the video of "Tin Soldier", Steve Marriott has what I'd called the "great class"). As bonus rarities, a song with Rod Stewart before he became a superstar.


With Rod Stewart

With the Small Faces

Again with the Small Faces


Procol Harum - Live on KZEW Dallas (1974)

Here is the second live set (actually a radio show) from Procol Harum (great period, with the band in its best formation). All info below in the text written for the first post some years ago (I was young and innocent... not actually I was old yet).

Sometimes I wonder if recording in a perfect quality all the concerts Procol Harum played between 1968 and 1977 would not have been necessary. And to release them afterwards in a voluminous boxset one of the best historical achievement in rock music. Because in each show during this fabulous decade, the band seemed to re-invent itself and proposed something different, very slight mood changes that could completely modify the way we heard and felt the songs. Here the band is in its dynamic mood, which was often the case when he played for radio or TV (later I'll post a Danish TV show which was similarly tonic). Recorded on the 4th of July in a Dallas radio (KZEW), it's not a very rare testimony, often bootlegged, but anyway, the sound is very good and some of you may ignore the existence of this recording. I've created a cover sleeve for it, once again with a Jakob Bogdani painting (the painter they used for the Exotic Birds and Fruits album, released that same year and from which they take many of the setlist songs). Once again, it's an opportunity to hear what a fantastic drummer was BJ Wilson. May he never be forgotten even when people from my generation who had the privilege to seem him play live will be dead.

Procol Harum - TV Danish (1974)

On the re-up front, Procol Harum seems to be a winner. Requested twice, here is the first. Probably useless to add anything to the post below. PH was and remains one of my top bands any period and one of the only I dig any concert I can find. Here it is.

A week I had not posted. I fear it will be more and more this way. Not that I don't have anything new (actually old) to post, not that I'm becoming bored with the fastidious process of ripping records, formating the MP3, doing the cover sleeve, uploading the whole and creating a post (actually it bores me a bit I must admit), but the main reason is growing professional stuff on my shoulders. I should be happy to have a job, many in my age range are jobless and life has been rather kind with me, with my small capacities I could have had a worst destiny. But you're not there to read about my uninteresting life (and what is left of it). Here the promised Procol Harum post from the Danish TV show captured in November 1974, 4 months after the Dallas radio show previously phere). Here we find the band in a stunning form. Actually, I think 1974 was THE year for PH. There was a sort of exhilaration in their way to play, and Gary Brooker wording during the instrumental parts was particularily jubilatory. And BJ Wilson was THE boss but this you all knew already. Added on the CD reissue of the Hollywood Bowl show and on the DVD version of 2006 Danish show with orchestra, but not on the CD. And below some videos from the TV show found on youtube. The cover sleeve was again taken from a Masaki Yada painting, whose universe fits well with PH one (at least for me).


John Lee Hooker - The almost complete "If You Miss... I Got 'Im" session (1969)

Re-up cos' a friend posted I Gotta Go To Vietnam on his page. A good opportunity for re-uping this album, not the one issued officially, but a fake one adding more songs from the session in it. This is with this sort of work I consider this blog useful, not only for fans, but for everyone and for the artists too, whose work is respected, since the industry treats with an incredible despise musicians and listeners. Catch this fantastic Hookers session here.

On the 29th May 1969 in Los Angeles, the Hooker(s) (John Lee & Earl) are together for a session that will be split on 2 albums, 9 songs featuring in an album called If You Miss 'Im... I Got 'Im released on the same year on Bluesway (and reissued on CD by BGO in 1998 but be careful, the MCA LP called Lonesome Mood and released in 1983 is the same album omitting one song "I Don't Care When You Go"), and 3 (2 being alternate takes) placed at the end of the Urban Blues CD reissue of the album in 1993. Son here's is the (almost) complete session, almost since one song ("Walking The Floor Over You") has, to my knowledge, never been released. Moreover, I've respected the order of the recording session, even if it may seem not the best for listening the album. Actually, John Lee Hooker has never really recorded albums but sessions, and it's maybe more interesting to imagine listening to the session live than to a "simili" album. As you'll see (actually hear), the session is consisting of slow blues on one hand and of boogies on the other hand, and the album can be considered as a pre-Hooker & Heat one. Awfully, Earl Hooker, as Alan Wilson, would die shortly after their session with John Lee Hooker, the first in April 1970, the second in September. This gives to these sessions a doom flavor that they were not supposed to have when recorded. If this session can be considered as a John Lee and not an Earl's one, it's mainly cos' on some songs the guitar is taken by Paul Asbell and not Earl (on the killer version of "Boom Boom" called "Bang Bang Bang Bang" or "Have Mercy On My Soul"). Far from the previous post from John Lee Hooker, this is the man in the end of sixties, as relevant as in the fifties. They were not so many to succeed in that.



Melanie - Under Covers fake LP (2002)

This is one fake LP I received much praise for. It's true all these covers, recorded for backing commercial ads stand proudly as an album. And with a cover... sleeve respecting the artist and the content, it could have been a welcome addition to her discography. Requested by a visitor yesterday, re-up today. Ask too if you want anything to be re-up quickly. Catch this LP here.

Here's a reup of this compilation of covers recorded by Melanie in 2002, but this time with a missing song, the Cyndi Lauper's "Time After Time" cover. Thanx to the nice Albgardis, the German Witch in Amerika (great definition of oneself), for the spontaneous gift. I ordered a Greatest Hits compilation on which this cover is but time (after time) is passing, and I don't see it coming so I put that one. I was expecting the CD to post it in 320kb and not 198 but it's not such a great difference I have to wait for it. Here below what I wrote in the initial post. I substituted the complete version for the previous one in the link at the end of the text. Melanie forever in our heart. PS.

This LP has a strange history. My English is not good enough to summarize this story here but briefly Melanie covered all these songs for a company providing Hit covers for TV ads (cheaper than the original versions). She did that the best she could, with her son and Peter Schekeryk, her husband-producer, so that she was proud of the result, but was quite surprised to see sometimes after a 14-track LP released under the title of Moments of my Life (with a picture takin from her Victims of the Moon LP that was a kind of pilot version of her new album Crazy Love). It was a bad idea since she was trying to promote her new original material album (Crazy Love) and this quite overshadowed her own work without giving her any royalties. Since then, 2 other versions of this album were released, the first called Beautiful Hits, with a lying picture of Melanie in her twenties (bastards) but with 19 songs instead of 14 (actually this is this album I post here under another sleeve and another title) and the next one, with the same title (Beautiful Hits), with 3 songs removed and "Time After Time" added, associated with 3 live songs recorded in 2007 (from the DVD concert released some months ago). I unfortunately was not able to get this extra track ("Time After Time") but as soon as I will get it, I'll post it. What could have been a complete disaster (some of these songs are for me awful tunes I would have liked not to hear again in my life, and more than that, were originally released with terrible arrangements) becomes an exciting experience and contains some wonderful moments (too many to cite). Melanie, as do great interprets, make these songs heirs and they all lost their time reference to rejoins her world (the way she makes her "Do You Really Want To Hurt Me" is astonishing). I changed the title for this one with a dual meaning.


Melanie - Low Country LP (1997)

Always a pleasure to see a Melanie album requested. This one is not one of her most known but the beginning of a golden era (until 2002) during which she released several great albums. Low Country is quite a singular album that digs her american roots when most of her music was much more European inclined. Catch it here.

1997 was a busy year for Melanie with Antlers at the end of the year (try it here) and Low Country at the beginning (the one we talk about). It's a shame that this album was not released with a normal distribution since it had everything to find a large audience. Actually this is the more American record she did in all her career. In a sense her Dylano-Springteenian album although it's hard for me to write it (I kinda dislike Springsteen). It's quite similar to what Ian Hunter's been doing in the late years. It seems so different of her other albums that it shows that Melanie has never been your usual country-rock singer as some would seem to suppose. The album contains some real gems and even if there are some rockers, most of the LP is quiet and lyrically real sad and desillusioned on almost everything, love included ("I'm Not In Love Anymore" is one of her most depressive texts). To the 12 tracks of the initial version, I add the unreleased version of "Prematurely Grey" recorded during the same sessions and that is one of the most moving songs of the whole. Strange she did not want to include it here. I would have liked to know the reason why. Musically, she is backed with her son and fine musicians and no more trace of the awful 80's sound that ruined her songs during the eighties and the first part of the 90's. Actually, this is not the style of music I prefer but Melanie could sing almost any style, I would be able to appreciate. I used the real cover sleeve for the front but created a back one to write the song names. Included in the rar file are the lyrics of all the songs. Thx to say thx in comments if you appreciate the work.

In streaming, I posted the rockest of the whole, "On The Lam Of The Law", not far from what Barbara Keith plays with the Stone Coyotes, and the previously unreleased one, "Prematurely Grey", for its emotional power. I added an interesting video (not good visual quality but sound is OK) in which she plays "Freedom Knows My Name" 2 years before Low Country, backed with a bass-drummer duo and by her daughter for vocals.

A Lam In The Law. I'm on the lam from the law boy On the lam from the law I never pick up no certified mail You never know what it's for If anybody asks you tell them I'm not home I'm gonna take my number Off this bugged telephone You see I never did, I never knew, I never saw On the lam from the law I'm on the lam from the law boy On the lam from the law As if death wasn't enough boy They never leave you alone If anybody asks you don't know where I am I don't know how I got myself into this terrible jam You see I never did, I never knew, I never saw On the lam from the law No dirty words in my song I drive with my seat belt on Got sued and lost what a scam See you in court Get in line what a jam I'm on the lam from the law boy On the lam from the law I never pick up no certified mail You never know what it's for If anybody asks you tell them you don't know where I am I don't know how I got myself Into this terrible jam I never did, I never knew, I never saw I'm on the lam from the law I'm on the lam from the law I'm on the lam from the law

Prematurely Grey. Too quick to smile And to easy to cry The first to say hello And the last to say goodbye A sucker for adventure A fool for the truth And I'm prematurely grey Absolutely blue And I'm prematurely grey Absolutely blue Too late to come And the last to go The first one to believe And the last to know A sucker for religion And all that is true And I'm prematurely grey Absolutely blue And I'm prematurely grey Absolutely blue



Humble Pie - John Peel Sunday Show (1970)

A re-up in response to a request. Interesting to see which LPs are first requested. A good opportunity to remember what a great guy was Steve Marriott and an interesting, although uneven, band was the Pie. Catch it here.

This show was recorded during the period the band was becoming the hard blues combo it would be most remembered for in the story of rock music, the band who left the famous Performance Rockin' the Fillmore (released in complete version last October, that means with the 4 shows the band played over their 2 day staying in the place) to the world, recorded 8 months later. Interestingly, here the band is only negociating its heavy turn and it's a less extreme approach of this so typical 70's style characterized by long long tracks with a lot of improvisation. The best moment of this show is the 18 min cover of Dr John's classic "I Walk On Guilded Splinters". Really amazing the way they carry the audience throughout a maelstrom of gloomy blues and voodoo atmospheres. No use to say more. Steve Marriott was really a sort of hero in his genre. And hearing the so particular John Peel voice introducing each song, as if we were still in 1970 listening to the radio, is a nostalgia shoot for old dogs like me. Enjoy it here. I created the cover sleeve with a Harry Clarke drawing (the illustrator of Edgar Allan Poe). Sorry for the picture on the back cover, it's the 1972 version of the band, Clem Clempson replacing Peter Frampton, gone for sucessful solo adventures. Below, the videos are not from this show but shot during the same period.