Forgotten Songs dk Top 10 LPs of 2015

As last year, I sacrifice to the ceremony of the Top LPs of the year. For a blog providing old stuff, it's rather weird and you are authorized to think that you don't care about my current tastes as long as I post good old material. But since I do not write in rock mag anymore nor on any music webzine, I self-indulge in this useless exercise. Of course I didn't listen to all the albums released this year, and since I'm not mono-stylistic, I may have missed a lot of gems. But with Bandcamp and my natural curiosity, I have however listened to a large amount (even briefly) of music and I'm not posting the only 10 albums I've tried this year. This selection is for me a way to say that there's still music released this year that could easily stand the comparison with great stuff of the past. And this year  it was specially the case with some albums that could compete for top 100 all times, in particular the 3 first ones. So, if you give me some credits, don't hesitate to have a listen to this selection, it's never too late to discover music that will be part of you.

1. Andy Shauf - The Bearer Of The Bad News 

Here's what i wrote on Bandcamp: "Didn't think there could be such a magical album in the folk genre. A classic. With an extreme delicacy, Andy Shauf provides songs that touch something incredibly deep in us. It could be something like the Harvest of the XXIst century". After all these months it's clear for me that this album stands as one of  the greatest of music history. Sorry to tell this to all the admirers of the legendary US and UK folk singers of the late sixties, but Andy Shauf provides something more precious and moving that it is possible to imagine. The arrangements are delightful, the voice carries a mad intimacy. There's really nothing that can compete with this album this year for me.

2. Alternative TV - Opposing Forces

Mark Perry is the only guy in rock with whom I could feel a strong empathy and sometimes have the strange impression he was my double. I was unsure that an Alternative TV album in 2015 could be as relevant as it was between 77 and the early 2000's. But it is, and even more than relevant, it is crucial and sends back most of the other releases in unsubstantial areas (at least for me). Not a weak song, some of them among his bests ("Dream" is nothing less than one of the most moving ballad ever written).The band is tight and styles are so varied it is not unlike a sort of Best of. It seems another Alternative TV album will be released in 2016. If I'm still alive at the end of next year, I bet it will be among my Top 10 since Mark Perry seems not to be able to do wrong. He's surely one of the most underrated composer of the last 50 years and I'll use my little influence anywhere I can to give him justice.

3. Howls Of Ebb - The Marrow Veil

Another proof that you have to wait until the last days of the year to do your Top 10 (or more) list since I found this one very lately and it jumped straight in my Top 3 after only 3 or 4 listenings. Why? Because as an old fan of the early Autopsy, there's in this album the same atmosphere but much more complexity, climax and power. Many will have more recent comparisons and influences to cite but I'm not totally aware of what happened to this death metal branch in the last 20 years so I'll stick to my old references. What's crucial is that this album is a killer and deserves to be considered as a great achievement of the year. I particularily love the drumming but the whole album is a masterpiece.

4. Pile - You're Better Than This

Pile is my favorite band of the last 5 years. They manage, under the direction of Rick Maguire, to mix what was the best of the 90's noise scene (Jesus Lizard but not only them) and to provide a stunning equivalent for our today's times. This is a perfect equilibrium between rock diary and extreme instrumental noise. Never heard before such a successful alchemy. I was glad to have the opportunity to tell it to Maguire when they came in Paris. On stage, they are also powerful and must not be missed. This album doesn't reach the greatness of the former (Dripping) but is however one of the best release of the year so far.

5. Windhand - Grief's Infernal Flower 

This blog posted their first demo exactly 5 years ago and I must proudly say I had a certain visionary quality since this band is maybe now the best doom band of the planet and this album is considered by many doomsters as the best of the year. It's like doom was reaching a new point with Dorthia Corttrell's lugubrious voice being a perfect vehicle for the classic riffs that the band provides. At the same time catchy and heavy, never leaving their doom soul in the process, this is an album to be rememberered and a band to cherish. Note that Dorthia Corttrell released this year a solo doom folk album that just failed to be in this Top 10 too.

6. Anna McClellan - Fire Flames

This is quite a surprise that this album ends the year in my Top 10 since when I first listened to it, I was not even sure I liked it. There was a Kate Nash savour (her demos and her first album, not the shit she did later on) but more mature, more arty too, and I gave me some times to state whether I liked it or not. Having listened to this album so many times I couldn't count, it's now clear that I love it. Her piano style (with something of the early 20th century French music in it, Satie, Debussy, Ravel), her way to sing as if she was not really preoccupied of the beauty of it but only by the fact to sing it sincere, and the complex melody lines that make the listening never tiring, all this places this album very high on the 2015 scale. Note that Anna was the singer of the band Howard.

7. Petite League - Slugger

Each year I got my small load of pop albums that helped me in the dark days since this style is often useful when sadness shows its nose (when it's in us, doom is the only music to be relevant). Last year it was Lunchbox that topped the genre, this year it's this incredible American duo with 10 songs that became for me not less than standards If you're in the Kinks and the Beach Boys of 1966 or more recently in Boat, you must get this album. Hope they'll get the notoriety they deserve.

8. Space Bong - Deadwood To Worms

Another band this blog had posted their first album 4 years ago. And once again they became since then one of the driven force of the sludge doom genre. This double LP is a monstruous musical piece that will make you forget most of what you thought was the must beforehand. How it is possible to push the limits still miles away than before, it's a mystery but this incredible band manages to do it. You don't listen to such albums, you aurally drown in them. 2015 will be remembered as the year this album was released.

9. Blackwater Prophet - Ghost

If there's a style that escaped my private musical interest, it's stoner. Honestly this music has a great difficulty to raise my curiosity for the last 10 years but 2 albums have changed my mind. The first (and my fave of the two) is from this young US band and is a total success in providing a fresh revisiting of this so-coded genre. Leaving the testosterone posture backside, they offered fort their second LP a non-faulty proof that it was still possible to give stoner a break and a new breath. Don't miss this new-born revival (moreover my fave cover sleeve of the year).

10. Sahara Surfers - High Lands

The other stoner album of this selection. Once again the female singer does a lot to make this LP reaches this level of quality. She's fascinating with her Mariska Veres voice (Shocking Blue of course) with something of Barbara Keith (Stone Coyotes). But the riffs are great too and the album becomes the better time is passing. They are from Austria and this is not the last of the surprise of this band.


Kim Fowley - 666 (2012)

Now that Kim is dead, I'm less inclined not to post his late material for free. He was rather angry at me in 2012 seeing I provided his stuff for free here but honestly I thought it was more a way to help his music to live and be spread than to steal him. Since my rs account was shelved 2 years ago, I didn't re-up it until he died but now I feel it's the time to reactivate his late work since it's great Specially this album with wonderful tracks such as "Hungry Hospital" or "Dreams and Nightmares". I'll re-up the two other LPs he released between 2012 and 2013. Sad I don't have any percision about the musicians and composers. If you do please help. I did another (fake) cover sleeve driven from his photo session with Kelly Cunningham and Brad Elterman (and shot in 2013). The original one (as the others from that year) really use awful visual effect. Hope mine is more in line with the content. Catch it here. I put my first post and the original cover sleeve (except the back I had done myself too) below.

Some of you may think Kim Fowley did great albums only in the 60's and 70's, others may be less severe but consider that in the last 10 years he didn't issue anything as strong as he used to. They are wrong. Given that 2012 seems to be Kim's year with no less than 3 LPs out or on the way out, it's a mandatory mission for me to post one of them here to illustrate my point. My point is that Kim Fowley is the only living artist in the rock to do music as essential in 2012 than in 1968. Age doesn't seem to have any effect on his singularity, inventivity, subversivity, deepness, poetry. 666 has been released in January and is truly a wonderful and exciting piece of music. Not a weak song, not a jokey track, a renewed profoundness in the themas and the way to sing them. Most of the texts are about his experience with illness and hospital. It provides often the same thrilling feelings that the best Paddy McAlloon songs in the Prefab Sprout era. What more can I say except this? It's one of his best album to date and will be one of the albums of the year so far to my ears. Don't limit yourself to the dl of this LP. Go then on itunes (here) or emusic (there) and BUY IT, BUY IT, BUY IT for Kim's sake. Bad I don't know anything about the players and composers on this LP cos' they would deserve to be cited. They serve the bad old man of rock 'n' roll with talent.


Kim Fowley & Burning Bones - Grease (2012)

Because Kim Fowley should never be forgotten and I'll do my best to help his musical memory to go on, because he's my only model at the onset of oldness (you should invent this word since old age has not the strenght of the French word "vieillesse") for the good way to cope with this body entropy and illness and agony. And because in the last years of his life he recorded some excellent albums such as this one, all in trad. blues style. Catch it here.

Here what Kim Fowley wrote about this album last January "Check out Burning Bones...I'm their lead singer. They are all burn victims that I met in the hospital when I was doing rehab from Bladder Cancer Surgery. We are the ugliest band in Rock N' Roll. We can never play live because 2 guys died since the session, & the other ones are still doing the "skin graft boogie" Pain is the secret element in Rock N' Roll :) ♥". Can't say whether this is the fucking truth or one of this legendary way to rewrite reality that Kim is so good at but what I know is that this 3rd offer from the man in 2012 is another winner, a Kim-Fowley-goes-voodoo-blues that nobody should overlook. There are some immortal gems in this album and more good songs in it than in any of the so-called masterpieces of boring singer-songwriters that the music industry defecates on us all the year long. If I post it, it's not for you to steal money from Kim who needs it to survive but because you'll be able to be sure that it's for you. And go to hell with your Tom Waits, hear the real shit, not arty one dressed in fake crazyness.


Vrangsinn - Phobia (2009)

Recently I discovered Vrangsinn was with Aliaa Magda Ehlmady, the Egyptian feminist (and femen member) that was a kind of heroine for many (for me I must say) in posing naked on a facebook page and more recently menstruating on the ISIS flag whilst a friend was shitting on it. This is for sure a brave and respectable couple and an occasion to re-up this wonderful and scandalously underrated album. As I wrote below, it is maybe the masterpiece that could have achieved Robert Smith if he was not stuck in his gelified character. I can assure you it's something to listen to. And for some of you, it'll find its way in your beloved ones. Catch it here.

Vrangsinn has a long history in the black metal world, and notably with Carpathian Forest (but also more than 10 different bands). This Norwegian is much more than a simple bassist of black metal bands, but a versatile artist (writing, filming, drawing) not afraid to be also a character, what our times are lacking so much. Profoundy anti-religious (welcome to the club, I can say that since I'm older than he is), here he offers a totally strange and unexpected album which has nothing to do with metal, but has more to do with Nick Cave. But although I don't appreciate our famous Australian icon, here I find the proposed songs totally my taste, since they have the despaired and delericted flavour that you won't find in Cave's work, who is in the classic artist format. What is the most striking in this LP, is that Vrangsinn often sounds vocally as a drunken Robert Smith, and I can't imagine any Cure's fan, specially of the most delirious periods of the band, not caught by this album. This music is like a poison. You can find it a little bitter for a while, but soon you listen to it again and this bitterness begins to taste sweet. If I post this album now, it's also because we're waiting for his new album, and the some songs that can be heard make me think it will be quite a masterpiece. Lyrics included in the rar file. More on this LP there. The whole album was associated with videos you can watch below.


Dave Lawson - Greenslade sung and played by (1972-75)

Quite a long time I wanted to post this compilation. As I did for Danny Kirwan (here), Al Wilson (here) or John Locke (here), I extracted from the 4 Greenslade albums all the tracks composed and sung by Dave Lawson. I even omitted the ones he's co-credited since usually he only composed the lyrics and what's so stunning in his work is his weird and singular sense of sound and themas articulations. Lawsons's songs are always instantly recognisable and so he thus belongs to the small circle of great composers. Note that from the 3rd album, it was specified on the cover sleeve that Dave Greenslade, the leader and name-giver of the band, did not play on Lawson's songs. Quite strange but finally good since Lawson's universe is far from the one of the bearded leader. Much more complex, melodic, dynamic, it's on much higher grounds for sure. Dave Lawson was not a newcomer in 1972 since he was the leader of Web (here) and Samourai. Each band had only released one album and the Web's one was and remains today a lost classic. In Greenslade, Dave Lawson was initially reduced to a second-role but in third LP (the best one, Spyglass Guest) he became the main musical force of the band. Sad that the quatuor will vanish soon afterwards and that there was no more trace of Dave Lawson in the rock scene (except as arranger of Kate Bush albums). With his so idiosyncrasic style and with his Barry Ryanesque voice, he could have done a great solo career (maybe, but 1977 would have surely wash him away with all the other ones). Meanwhile, I post again a mail interview I did and published at the beginning of this blog (for Spyglass Guest then unissued on CD). Hope he's well today. I have a project for a book about all these forgotten heroes but not sure I'll have the motivation and courage to write it. Sorry for the low quality of the MP3 but I got some trouble to rip my CDs so I had to use a commercially available one that is quitte shamely highly compressed. I'll try a better one later if I have again time and courage. I'm quite proud of my cover sleeve. Hope you like it. Catch this gem here.

Here under, an interview I did via mail with Dave Lawson at the end of 2008. This was translated and published in French in the music mag called Xroads. Here the original version.
dk. For me I Spider from Web is one of the great underrated albums of the seventies. You joined the group for this album (their 3rd). It seems you were very involved in its making. Is it true?
DL. I wrote all the material for the album and because the members of WEB were all skilled musicians and readers I wrote the arrangements as well which cut down the amount of time required to rehearse the new pieces.
 dk. Do you remember what other progressive bands of the time you felt belonging to the same musical family?
 DL. I/We were not influenced by any other bands of that time but there were some interesting bands doing the same festivals and gigs.
 dk.To what elements do you attribute its failure to get the credit it deserved at the time?
 DL. We were not a band with instant appeal, unless of course you were a fellow musician Consequently the material required more than one play to appreciate the detail.
 dk.Is this failure was the reason you chose to change the name of the band? But why Samurai?
 DL. We decided to change the name because of the old image that WEB had, which was more soul-based. Samurai was chosen because we liked the name and the image that it suggested, none of us were into martial arts by the way.
 dk.Is the change of name was also an attempt to try some thing else? The music is quite different, maybe more based on a quiet climax than Web. Medodies are also less catchy.
 DL. There wasn’t a conscience decision to change musical direction, it was a natural evolvement as again I wrote and arranged the material. I suppose if there had been a third album then it might well have changed again.
 dk.Was your involvement similar in Samurai than in Web?
 DL. As I’ve said in the previous paragraph. I wrote the material but I was not leading the band, we were all equal in decision making.
 dk.The Samurai album has (for me) a really ugly cover, not at all appropriate to the music. Do you remember who was responsible for this choice?
DL. It’s one of those covers which you either like or loathe. The artist responsible for the cover had carte blanche to do whatever he liked. The result is a little bit tongue in cheek, the guy rolling a joint for example was thought to be me, it wasn’t.
 dk.Same question than for I Spider: how do you explain (if you can) the absence of public interest for the album?
 DL. The lack of any commercial success with the ‘I Spider’ album could be that it was hardly promoted, had very little air-play, had low-profile gigs etc but also was musically challenging for the music buying public of that time and it has been suggested that it was ahead of it’s time, maybe the public were behind their time.
 dk.Can you tell us in some words the period leading from the split of Samurai and the genesis of Greenslade?
 DL. Tony Reeves was a director at the Greenwich Gramaphone Company. Samurai were signed to them. As Samurai ground to a halt through lack of funds, gigs etc Tony mentioned that his colleague Dave Greenslade was putting a band together and it involved the use of two keyboard players. I had a blow with them and we hit it off socially as well as musically.
 dk.To have Roger Dean for the cover of the first album has surely been a good point for driving the interest of the press and the public. How did it happen? How a band could ask for a Roger Dean cover at that time (we are in 1972)?
 DL. Roger had been involved with ‘YES’ and we, (Greenslade), liked their music but also liked their art work and so Roger was asked if he would design our first album cover.
 dk.In Greenslade, your role in composing seems to grow album after album. Did you really work together with Dave Greenslade or did you compose separately?
 DL. A little of both. If Dave G. came up with a chord sequence I would put a top line and lyric on the piece but sometimes DaveG. Would have a melody in mind as well, so it was just a case of writing a suitable lyric. As the band grew there were times that we wrote independently because we felt that the live gigs should have ‘feature’ spots That would also give more light and shade to the set. dk.Now an important point for me: your voice. I think that it shares a lot with the voice of Barry Ryan (a singer I am really fond of). Even the melodies (in particular "Bedsides manners are extras") are often in a similar vein (and should have given birth to hits I think). Can you tell me frankly about this comparison? Were you aware of it at the time?
DL. I wasn’t aware of the similarity with Barry, to be honest he is a much better singer than I could ever be but thanks for the compliment.
 dk.Strangely, in the last album, Time And Tide, you changed your voice. There is more raucity in it. Was it voluntary?
 DL. I think as you do more live work the voice can get rougher but there was no deliberate effort made to change the timbre.
 dk.Melodically, you are for me the composer who approached to the nearest the musical genius of Brian Wilson musical world. Do you are a great fan of the Beach Boys?
 DL. Brian Wilson will be remembered as a true pioneer and I do admire his works tremendously, I suppose ‘Rainbow’ was a sub-conscious homage to Brian.
dk.My favorite Greenslade album is Spyglass Guest. Was there something special in this period that you were so inspired? Do you personnaly have one favorite Greenslade album?
DL. I suppose if I had to chose one ‘Spyglass’ would be a contender but I don’t have an outright winner.
dk.How was the commercial status of Greenslade during its 4 year of existence? In particular compared to bands like Gentle Giant or Van Der Graaf Generator second generation?
DL. The commercial status was nothing like the bands that you’ve mentioned but that again was down to the ‘suits’ who determined that we were not selling enough records to warrant a push
dk.Time and Tide was not so satisfying to my view. Was there some tension in the band, a tiredness maybe?
DL. As per my previous answer, the climate in the band had changed, there was a little unrest and a sense of “is there any point?”
 dk. After the split it seems quite stupefying that you did not record a solo album since you were the only singer-lyricist-music maker of the band? Can you tell us about your state of mind during the months and the years following the split?
DL. I still carried on writing and still do but I haven’t really finished anything. The solo album is still in the back of my mind but I’m a perfectionist and I wouldn’t make an album I wasn’t 100% happy with. As to the state of my mind after leaving Greenslade, I got into session work and became quite busy. I’m not a huge fan of live music, the sound is mostly awful and playing the same material every night can and does become boring. I like being at home and writing and recording there.
dk.You worked with Kate Bush on the Dreaming and Hounds of love albums (the two best for me) and your work on "Cloudbusting" is pure genius. How did this collaboration happened?
DL. I was working with a great engineer and friend Paul Hardiman and he recommended me to Kate as a possible player/arranger. Coincidently Kate used to live a few mile away from me and so we met up on numerous occasions to get the feel right for the material she was working on. She asked me to do an arrangement for ‘Houdini’ but instead I wrote a little interlude piece based on my feel of the situation between Harry and his wife, he believed in an afterlife.
dk.In the Kate Bush musicians, there was Stuart Elliott, ex-drummer of Steve Harley and for me one of the best on this planet. It would have been fabulous that you formed a band with him. Did you have some opportunities or envy to start a new band during the years following Greenslade (except Stackridge)?
DL. I had no ambition to start a new band after Greenslade but I did record some stuff with Chris Squire and Alan White and there was a possibility of Jimmy Page joining us but it never got passed the managers.
dk.You then became a famous and successful composer and sound designer for films or series. How did it happen and how do you feel in this role compared to the band work?
DL. I was doing some sound effects for a David Bowie film called ‘The Hunger’. Tony Scott, the director of the film, used to visit my London studio and I ended up doing some extra pieces for the film. I then did a few ads and it grew from there.
dk.You were not of the Greenslade reformation some years ago. Why? I thought maybe it was too difficult to imagine singing again the melodies you wrote at a time you were much younger.
DL. I would have liked to have joined the rest of the guys for the reformation but I had previous session work which was already booked and so I couldn’t let the composer down. Best regards to you, I’m sorry it’s taken me a while to reply. Dave.


Vic Chesnutt - Death 7" (fake) (2009)

Because he died almost 6 years ago, because his music regularly haunts me when I'm feeling shit as I do feel tonight, because he must not be forgotten, here is a re-up of these two masterpieces. I don't read what I wrote in the initial post below so don't blame me for my poor English, I'm a little bit better now but after all my words are rather useless on this blog.

Exactly one week ago, on the Xmas night, Vic Chesnutt fell in an eternal chemical sleep. This same night, mine was also chemical, but not eternal. On the eve of this evening, considered by many as an occasion for collective joy (and nothing guilty in that), all I can do is write about him some words and put a fake 7" (the Death 7", pronounce "heaven") with 2 of the most moving songs, not only in his last LP (At The Cut that everyone of you should buy) but in the (dying) year. In these 2 songs, he talked about his view on death ("Coward" can be taken today as a statement on his fear of dying, and the fact that this gives the courage to suicide, if there is any suicide in his act, I don't know actually), and few have described this intimacy with such a direct and honest approach. There are litterature references in these songs. On "Coward", he cites them (Franck Norris, Joseph Roth). On "Flirted With You All My Life", I can't help thinking about what Thomas Bernhard was saying about his own death in the last years of his life. He had written it on the first page of his book "Old Masters" ("Je sens la mort qui me tient continuellement dans ses griffes. Quoi que je fasse, elle est partout"). Musically, they are seminal gems. "Coward" could have been on The Narcotic Story (Oxbow) and Eugene Robinson seems a black gigantic brother of Vic Chesnutt. I dream of what the pair would have done, on stage or even in the real life. But this will remain a dream, one of the rare one in a nightmarish existence for so many. 

Coward. "The courage of the coward - greater than all others" (from franck Norris - McTeague) A scaredy cat'll scratch ya if you back him in a corner. I am a Coward. "Courage born of despair and impotence" (from Joseph Roth - Radetzky March). Submissive dogs can lash out in fear and be very, very dangerous. I am a Coward.

Flirted With You All My Life. I am a man. I am self aware and everywhere I go, you're always right there with me. I flirted with you all my life. Even kissed you once or twice and to this day I swear it was nice but clearly I was not ready. When you touched a friend of mine I thought I would lose my mind. But I found out with time that really, I was not ready. O' Death... I'm not ready. O' Death, you hector me and decimate those dear to me. Even tease me with your sweet relief. You are cruel and you are constant. When my mom was cancer sick, she fought but then succumbed to it. But you made her beg for it "Lord Jesus, please I'm ready". O' Death... Clearly I'm not ready.



Kathleen Ferrier - Songs for Dead Children (1949)

Can't see a better re-up that this one in these terrible times. No much to add to the below comment. Listened to this 5 lieder-series the whole day. Catch it here.

I don't think I need to explain why I update this post today. One visitor left a comment that says it all. The recent killing is a sum of sufferings, from the killer (his childhood was surely a hell to do such a thing at 20) to (of course) the killed. The dramatic illustration that something's going wrong in our societies. We got a similar event in France last May, and Norway got their own massacre the previous year, so throwing the stone to US like many French and Europeans will do is misleading (although there's surely a problem with access to any sort of guns). Why some of us are drowning in such a misanthropic and destructive path, is a crucial point. I know what it's like for having taken it (without the act) in my life and for still, from time to time, feeling disgust and hate for my contempories. But I must say that never children are concerned by this inner feeling and that such a hate really questions our ability of understanding (sorry for this poor way to formulate things but as you know my English is quite uncertain). So, providing a free link to what I consider the strongest songs about children death in music, is the only contribution I can make to this awful event.

If someone'd asked which songs I considered the doomest of the 20th century, I would not say "Gloomy Sunday", or "Avec le Temps", or "Black Sabbath" or even anyone by a Doom band, but the Kindertotenlieder (songs for dead children) composed by Gustav Mahler (1860-1911) between 1902 and 1904 from 5 poems he chosed in the 428 ones that the poet Friedrich Rückert (1788-1866) had written after the death of 2 of his children. Strangely, few years later, Mahler would lost his daughter. In the poems that Mahler had selected, children seem to be out of home and not coming back. Maybe it's a metaphor for death (a far away travel from where they'll never be back) but since it is the main fear of every parent today (children kidnapped, raped and killed while away), this makes these songs still more moving. This is the reason I chose for the sleeve a picture by Wynn Bullock (1902-75), who had begun as a tenor singer and whose picture of this child (her daughter) in the wood is quite disturbing. For the back of the sleeve I took an other disturbing and doomer than doom picture by Peter Hujar (1934-87) that he shot in the catacombs of Palerma in 1963. Kathleen Ferrier had also a doomed life since her career began late (at 30) and finished prematurely in 1953 (she had 41) from leukemia. She is considered as one of the greatest vocalist of the century and to have interpreted the best version of these lieders. I will not have the irony to write enjoy it here, but at least, cry with it.

In Diesem Wetter, In Diesem Braus. In diesem Wetter, in diesem Braus, Nie hätt' ich gesendet die Kinder hinaus; Man hat sie getragen hinaus,Ich durfte nichts dazu sagen! In diesem Wetter, in diesem Saus,Nie hätt' ich gelassen die Kinder hinaus,Ich fürchtete sie erkranken; Das sind nun eitle Gedanken.In diesem Wetter, in diesem Graus, Nie hätt' ich gelassen die Kinder hinaus; Ich sorgte, sie stürben morgen, Das ist nun nicht zu besorgen. In diesem Wetter, in diesem Graus! Nie hätt' ich Gesendet die Kinder hinaus!Man hat sie hinaus getragen,ich durfte nichts dazu sagen! In diesem Wetter, in diesem Saus, in diesem Braus,Sie ruh'n als wie in der Mutter Haus,Von keinem Sturm erschrecket,Von Gottes Hand bedecket.

In this weather, in the windy storm. In this weather, in this windy storm, I would never have sent the children out.They have been carried off,I wasn't able to warn them! In this weather, in this gale, I would never have let the children out. I feared they sickened: those thoughts are now in vain. In this weather, in this storm, I would never have let the children out, I was anxious they might die the next day: now anxiety is pointless. In this weather, in this windy storm, I would never have sent the children out. They have been carried off, I wasn't able to warn them! In this weather, in this gale, in this windy storm, they rest as if in their mother's house: frightened by no storm, sheltered by the Hand of God.


Kathleen Ferrier

Kathleen Ferrier and Bruno Walter

Gustav Mahler

Friedrich Rückert


Alternative TV - Dragon Love (1990)

Let me tell you something, Mark Perry is  my favorite singer-composer all times all styles and this since 1978 and his first single. And everything else is litterature. All about this rarity is below except that I have quite improved the sound and now I can write that this album is another forgotten MASTERPIECE. One day when all the bad music will be lost in the oblivion of history, there will be boxsets of Alternative TV material and people will wonder why this band was not considered at the level they deserved (when I say the band I mean Mark Perry, the only permanent member and composition force). Note that James Kyllo (this is a duo album) died very recently and it's a sad news. Here a testimony of his talent. This album should be in every decent discography. It's full of gems. Catch it here.

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.

Alternative TV - Live At Gardens Free Festival (1978)

Third Alternative TV re-up for tonight. Once again a testimony of their (in)famous 78 summer tour, but this time when they had fired their drummer, so it's much more experimental. Catch it here.

Here we find Mark Perry at a turning point. During the summer of 1978, he transforms his punk outfit into a complete experimental one. Between the beginning and the end of the tour, the music will profoundly change (just compare to the Southend show here to verify). Chris Bennett, the drummer, will be sacked (at least this is what is written on the various sources but only him and Mark Perry could say how it happened) and the one taking the kit is only a suppletive and has not much to do since the band will play a rather non rhythmic stuff, primary a vehicle for Mark Perry talking-singing. The set was recorded by an Italian journalist called Red Ronnie and has been remastered for the Live 1978 reissue of 2003 from which this fake LP is taken. A crucial testimony for Mark Perry fans like me, showing how he really throw everything relative to punk culture during this summer. Of course it's not easy listening and some may even find it is absolutely indulgent nonsensic shit. I don't.

Alternative TV - Live at Stonehenge Free Festival (1978)

Second re-up for the evening. A live testimony of their now legendary 1978 summer tour here when everything changed for the band. More details below. Catch it here.

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!!"

Alternative TV - A Bangkok Radio Session fake 7" (1986)

It seems my Alternative TV posts have been efficient to gain some to this lost-battle cause (at least maybe not). So here the first of some more re-ups. I won't re-up anything that could be a prejudice for Mark Perry and will delete everything he will ask me to. And meanwhile buy the last Alternative LP, it's one of the best album of the year so far. More about this radio recording below. Catch it here.

And now a personal pleasure: creating a fake A-only side single with an ATV track recorded in 1986, with the personal of the Peep Show album, during a radio session in Bangkok (the reason I chose these pictures for the front and back sleeves, taken from this site here, without any courtesy I must confess). A very different kind of music that usually plays the band across its various personifications. Much rockier, not far from the Fall at the same period, but always with this superior emotion power that Mark Perry puts into his music compared to Mr Smith. More than 7 min of greatness by a band I never stopped to cherish since it was born. This track can be found on the rather heterogeneous The Radio Sessions album released by Overground records almost a decade ago. This before a real rarity I'll offer to you very soon from the same band.

Straighten Up
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Buzzov.en - Hate Box 7" (1992)

Today I received the most stupid comment since this blog exists. I answered but to find some use to this comment, I decided to re-up this single. I could have improved a little bit more my ripp but I'm short of time these days. It will be better in some weeks, so be patient (except my famous commentator that is adviced not to put any word on this blog since they will be deleted, I'm not here to read such crap). Catch it here. PS. Incredible, I had posted this single exactly 5 years ago (December the 4th).

Before Wound (here), there was this single known under the name of Hate Box although the A-side was occupied by Fade/On Your Knees. It's the testimony of the band as it was at the onset of his stunning short career. I took it from my own vinyl single. The sound is the best I could do. There was another site that previously ripped it and uploaded it but I forgot which one. Comparing my to their sound capture, I can say that if the sound volume is lower in mine, the quality is quite better and the format in 320 kb. Don't think these 2 titles were released on CD format on any compilation but I can have missed it. So if this is the case, wrong shot.

Fade/On Your Knees
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The Saints - International Robot Sessions (1977)

Another welcome re-up that I had forgotten to do previously. Some details below. But who needs details about such a great band? Listening again to these demos it's clear that this band has lost none of its cathartic effect 35 years later. Catch it here.

Recorded one month before the sessions done for the Eternally Yours album, it's a rough and raw document of the way the band imagined what the album would be. Released in 2004 on the All Times Through Paradise box-set, it is strangely entitled International Robot Sessions although the eponymous title is not in the set. Only one song was not used anywhere, the one called "Champagne Misery" (the formulation will be used in "Every Night's A Party" on Prehistoric Sounds). Two are from the One Two Three Four EP and won't be on the LP too. Are missing the fantastic "Know Your Product" and "International Robots". All in all, impossible not to have this document in any Saints amateur discography (or MP3-ophy). 

Champagne Misery. She said she thinks she's going down again 'Cause she's so tired now of all her friends And she'd like to go away Spend some time in a foreign place It's no good Just don't know what to do She said her life is full of misery She dreams of places where she'd rather be And she'd like to go away Spend some time in a foreign place It's no good Just don't know what to do She has no time for, and she doesn't like anyone She's not content, and she doesn't have any fun She said she thinks she's going down again 'Cause she's so tired now of all her friends And she'd like to go away Spend some time in a foreign place It's no good Just don't know what to do She has no time for, and she doesn't like anyone She's not content, and she don't have any fun Poor little girl, she doesn't have any fun Poor little girl, not loved by anyone Oh, little girl Oh, little girl Oh, little girl Oh, little girl