Van der Graaf Generator - People You Were Going To / Firebrand 7" (1968)

Before posting the "almost complete" Van Der Graaf Generator BBC sessions (and make the fuck shut up this blog that shat on my uncomplete version), I'll reup the individual singles of this great band with the true single versions of the songs and some "did-it-myself" cover sleeves. Here the first one, released in December 1968 and not with the classic VDGG line-up. But interesting for completists like me (and you I'm sure). Catch it here.

Here's the first post from a series about the singles published by one of my fave bands all styles confounded: Van der Graaf Generator. Of course it's mainly because of my admir- ador- ation for Peter Hammill this band is so important to me but not only. And this series will show you how they could compete with the most chart-winning artists when came the time to create great songs with ultimate melodies and arrangements. This first single did not feature the classic line-up since Chris Judge Smith and Keith Ellis were still in the band. The A-side is rather familiar to Hammill's fans since it was rearranged by him 7 years later on his Nadir's Big Chance album. The 2 versions are quite different but both worth the listen. The B-side is not very satisfying, experimentally dated, and the voice of Smith is not a sapid choice to listen to. This single (without sleeve, so I did one with an Alfred Kubin drawing since this artist fits perfectly the Hammill's world in VDGG) was short-lived since Capitol asked Polydor to withdraw it because they were under contracts with them. Moreover, Peter Hammill did not add it to the reissue on Fie! records of the Aerosol Grey Machine album, so that it can be found only as bonus tracks on the German Repertoire reissue of the same album.

The nucleus of the band at the time: Smith, Hammill, Banton

Reverend Hammill with Judge Smith

People You Were Going To. Your father has just left your mother, gone off to live with his latest lover: she sits there, just staring. So you get back to your own flat because the atmosphere in there is so bad you can't bear it. And the people you were going to America withjust left on the dawn plane without you, without you. The people in the downstairs flat are no longer there now because they left the gas tap on, they're all dead. So you've no-one left to talk to, you just lie there in melancholy, half-naked on your unmade bed. And the people you were going to Africa with just left on the Southern Star without you, without you. Yes, the haze that's been forming round your window-panesis now protracted and poisonedand you cannot feel a portionof the world outside.Can you imagine the way you'd feel if all these things had happened to you and the doctor says you're dying? That is the way that I feel now on finding that your love belongs to someone else and not I. My chance of heaven has just blown away upon a passing cloud and there is nothing that I can do without you. The people you were going tohave left, gone far away and you're lonely.

People You Were Going To

tilidom file storage


Christophe - Chiqué Chiqué / Un Tour d'Harley Avec Lucie (1988)

After a 3 year gap, Christophe released in 1988 a new single with the classic "made-to-be-a-hit" commercial slow A-side, and the "I-do-what-I-actually-like" experimental B-side. The A-side ("Chiqué Chiqué", which means "Fake Fake") was, as its title suggested, rather fake and failed. The B-side was maybe less interesting than the ones that were on the previous singles B-sides posted on this blog (except the 1985 "Ne Raccroche Pas" single where the B-side was a song from the previous LP and not an original, so I didn't post it) but is worth of interest anyway (although too short: less than 2 min.). Don't forget that he released recently a new LP (Vestiges du Chaos) that is surely one of the best things this country (France) can provide to the world musically speaking (thanx to forget Air or Daft Punk). Note that the B-side of this single can be seen as a mould in which his great albums of the 2000's where cooked. Catch it here. PS. the voice sample comes from Konchalovsky's 'Maria's Lovers ' (1984). It's  de Nastassja Kinski's voice, saying "Well... Goodnight everybody" to John Savage and Vincent Spano.


Marc Bolan & Gloria Jones - Do I Love Thee fake EP (1975)

It appears that I didn't have re-up this one on M. So I do it. Not that this song is one of his best, but I feel it is an interesting testimony to the way he decided durng some months to drive his style before going back to something quite more mainstream according to his standards Enjoy it here.

This song has never found its way on any single or album although it seems Bolan had some expectations about it, the proof is these 3 versions, the first one being the only one not far from being ready to be released (I found it on the A Paw Of Fur, An Air of Doom/The Midnight Sky of a Solid Mad Scientist bootleg compilation and, to my knowledge, not featuring on any of the various outtakes released these late years). It's maybe the peak of what I would call his "excessoul" period, removing all glam and even rock preoccupation. Not far from the way Steve Marriott would also approach black music. Both will fail to convince the little white teens that this music could be as exciting as these two artists were expecting it would be. Strangely, 5 years later, a guy called Prince would begin his triumphal march with a music that shared some similarities, but true that neither Bolan or Marriott had this little thing that could make crowds "shake their booty" as the Minneapolis wizard could do. So here we are with this song and its 3 versions (the alternate and the instrumental are from the vol 5 of the Unchained series). You may be surprised that I chose to create this fake EP under the name of Marc Bolan and Gloria Jones rather than T. Rex, but actually remember that on the Zip Gun cover sleeve it was written Bolan and not T. Rex, and morever, listening to the song, it's much more a duo than a band song, maybe the reason why it was not on the official LP. Some months later, seeing the weak reception of this US-oriented style, Bolan would make some various attempts to get back to a more rock sound and this outtake surely seemed to him not relevant anymore. I'm quite proud of the cover sleeve I must say. Happy to have found this picture taken by Norman Seef (I should have written it on the back cover, too late now, sorry for him).

Do I love thee in my heart like a jet black rose mighty thunder like my love in my head as it goes Shadow baby all the mansions of gold will be yours Do I love thee do i love thee like the secrets flow Have you seen her that girl like a cat in the storm he ever loved her since the day that the earth was born Do sing a rapture air supplied to our vibe that stay Flashing jet stream cruise on like the line of a team deep lagoon yeah trying to ride on the freighter dune Senseless times and trying to age like the youth of a claw Do I love thee do I love thee child of the gulls Jet lag rolls home night of thunder´s all that I know get in the back girl and put a kiss on it and it´ll grow


Marc Bolan - Skeletons of songs (1972-74)

The link was dead for a reason I ignore (M doesn't seem to kill them on request). So here it is again on M.

Sorry for giving the impression to have a high level of self-esteem (actually my days and nights are full of self-deprecative thoughts, be sure), but here something I'm again quite proud of: the compilation of 26 acoustic demos Marc Bolan recorded of songs that would later feature on albums i.e., Slider, Tanx, Zinc Alloy and Futuristic Dragon. Found on the Alternate series CDs released in 1994 and 1995 by Edsel, it's a fascinating intimate travel in the heart of songs that would be most of the time (but not always) totally mutated in something else in studio. It's a document against those who said that Bolan had lost it after 1972, and even some, like John Peel, who thought that Bolan had left his old style. In fact these songs, in their nude acoustic versions, could have, for the most of them, featured in older albums, notably the Tyranosaurus Rex ones, without paling by comparison. I my opinion, Bolan even composed his best material during this 2-year lifespan (to be honest I must confess that Zinc Alloy is my fave T. Rex album, so this may explain my incongruous statement). One must only wonder whether some of these songs would have not deserved to be treated less heavily in their final released version. You might ask why Futuristic Dragon demos are in this compilation and not Zip Gun Boogie ones. And more specifically, you may wonder why I wrote 1972-74 in the title when Futuristic Dragon was released in 1976, one year after Zip Gun. The reason is that Futuristic Dragon actually consisted of ancient material and was substituted to an album that was to be called Billy Super Duper (and whose songs have finally been released post-mortem). Don't know why he decided to shelve this new project for older stuff but comparing the two, he was right, even if Futuristic Dragon could have been much better (the fault partly due to the production, Visconti was cruelly missing), the songs were much better. It seems that Bolan stopped to record demos on acoustic guitar after 1974 since there is no trace to my knowledge (but I'm no more the Bolan addict I used to be so maybe I missed something) of this kind of skeleton songs for post-75 albums. For me, the acoustic demos of Zinc Alloy songs are what make the price of this compilation (actually it's free but it's a way to talk). I would have dreamed he released, as did Emily Wells recently, this LP in 2 versions, an orchestral and an acoustic. But it will never be. I promise that to jump in these sea of 26 songs will give you a lot of weird and sometimes unexpected emotions. The cover sleeve was made with pictures taken by Danny Fields in 1973 (see here). I think it fits well with the content.


Barry Ryan - 3 LP (1970)

Here happy tax payer (actually you don't, everything's tax-free here), at least and at last, a re-up of the 3rd Barry Ryan's LP and, more crucially, with high sound quality, not the mediocre vinyl-ripped version I had done in the previous post 6 years ago. I must say that I found these versions on Youtube by a certain Ther51(here). I don't know where he found them or maybe he's a better ripper than I am (surely). What's clear now is that this album is much greater that I thought it was initially. Some may say that the vinyl version should have revealed all the greatness of the record but I must have failed to listen to it with the appropriate attention. So, it's a great pleasure that I lived long enough to repost a respectful version of this album, from one of the most underrated musician duo (Paul and Barry) of history. Sad they did not received the respect they deserved. Catch it here. Everything about the did-it-myself cover sleeve in the text of the first post below.

(Sanctus, Sanctus) Hallelujah, I finally found, bought and received the 3rd album of Barry Ryan and I ripped it for you because visitors of this blog deserve the best and the rarest (even if you do not leave much comments compared to the dl rate but no matter, when I went on blogs, I rarely left comments, thinking it was useless... it's not). This album is quite good and some songs are prime meat (even if I prefer to eat vegan) but unfortunately only 8 among the 12 songs are from Paul Ryan, and the non-Paul ones are not really a success. It's on this album there is "Kitsch", a quite fantastic orchestral pop hymn that would merit to be a massive hit, that would have helped to reveal that Queen drank some of this juice to make their own cocktail (and even if it's not my personal beverage). Although I have the real cover sleeve (see below), I created a do-it-myself one (and you can do what you want with this virtual cover, I consider that when I've posted something here, it's belonging to anyone likes it) cos' really Barry Ryan did not benefit of decent sleeves you'll admit. The painting is from a doom-lover called ForlornExistence (something tells me it's not his real name) and you can find more on DeviantArt. This painting fits quite well with the general emphasis of the Ryans music on this album. Enjoy this rarity I'm proud to take out forgottenland to put under the bloglight. More to come (I hope I'll be able to post all Barry Ryan songs in the future).


Christophe - J'l'ai Pas Touché / Voix Sans Issue (edit and extended versions) (1984)

One year after his "Succès Fou" (which was not a crazy success in the charts), Christophe released this single featuring, according to his now well-known strategy, a hit attempt on the A-side (often rather uninteresting I must say, and this one is not really a must) and an experimental track on the B-side. Here it is really an experimental one, sung in English, and based on the final of Billie Wilder's Sunset Boulevard where Gloria Swanson walked down the stairs under the fake direction of Erich Von Stroheim. Called "Voix Sans Issue" (playing on the word similarities between voix (voice) and voie (path or street), "sans issue" meaning "deadend"), this is a true forgotten gem of the eighties (minus the drums, too much marked by the sound of this period), a decade where Christophe was relatively absent. But it's true it always took him 5 to 8 years to record an album after Pas Vu Pas Pris. I added 2 versions of this track. The one that was on the B-side of the single, caught here in a true high quality version, and an extended one in a weaker quality but there's almost 7 min of music instead of 5. Catch this single here.


Peter Perrett - Falling / My Sweet Angel fake 7" (1996)

Checking my Peter Perrett's posts (with or without The Only Ones) I see that this fake single is the only one that I didn't re-up on M. Not a complete necessity since it was only a personal fantasy, but I think it may give some pleasure to those who are not so familiar with his extre-Only Ones discography. Catch it here.

Here's what should have been a Peter Perrett (and the One) single. Why? Because it's clear when listening to "Falling", that the song was conceived and played on the model of "Another Girl Another Planet" and I doubt this was not in the perspective to release it in single. Why was it shelved for the less commercial "Woke Up Sticky" I don't know but I'm sure that "Falling" would have made much more impact at the times. It's a tonic one, not reaching the genius level of its ancestor, but without hesitation a song that would have surfaced as the best of 1996. To venge it, I therefore created this fake single, putting the hidden song of WokeUp Sticky (the album) on the B-side. It's a wonderful ballad as few others than Peter Perrett has ever been able to compose, play and sing. A perfect single that the net allows me to make almost real 15 years later.

Some girl promising me
She said "you can have all that you see"
That's something, I'll keep it in mind
Know that feeling from a previous life
I'm falling in love
I'm falling in love
Right now I don't know who to trust
To be alive I know that I must
I feel like an innocent abroad
At the mercy of the ravaging hoards
I'm falling in love
I'm falling in love
It's no way for me to carry on
I feel like I'm in love with everyone, everyone
I feel sick in the stomach with nervous excitement
But is it love?
I feel my temperature rises
I've been fired up on you
But is it love that's coming to me?
Or is it sorry and confused like it used to be?
I feel like an innocent abroad
At the mercy of the ravishing hoards
I'm falling in love
I'm falling in love
I'm falling for her charm
Surely it won't do no harm
A brief exchange of view
Something shiny, something new

My sweet angel
She fell down from heaven
She got sweet dreams
I must go and get some
I want our time again
We'll be right as rain the next time round
As we kiss the skies fall in on me
I can't resist her sweet voice calling me
And my sweet angel
Can't complete a sentence
She got sweet dreams
And a sidereal presence
Time again
It seems like we're through
I remember when I had plans
For me and you
I've been lying here all night long
Waiting for her


The Only Ones - Trouble In The World / Your Chosen Life (1979)

I received this comment "I there, thank you for posting Trouble In The World. I kindly disagree with your comment about the production. At least as it concerns the version of the single that was released in France (different from the one you posted). The French version has additional synthesizers and, most importantly, female backing vocals. As you rightfully mentioned, these are probably some the darkest lyrics to ever appear on any single. When you contrast the chirpy vocals and happy synth with the darkness of the lyrics you get irony on steroids - which pretty summarizes Peter Perrett's and the Only Ones. As cool as 'space shuttles in my veins, I don't find it irritating...' You can hear the French version of the single here: https://www.youtube.com/watch?v=p7Uj00x619c." I must say I agree with everything this visitor (named Waggy) says. And I'm quite guilty not to have posted the single version since I have it, and usually rip them to include the appropriate version in the file. Note that the synth + female backing vocals also featured on the UK version of the single (but not in the Spanish one, cos' yes, I even possess the Spanish one). And true, the version is much better than the flat one of the album. It's even a little faster. So, I changed my opinion and yes it's in this version a great song. I used the Youtube one (see below) since my ripping abilities are not very conclusive. I improved the sound quite a lot and now it can be heard in a (near) hi-fi level. So thanx to Waggy for driving my attention on my omission. Catch it here. For the "Your Chosen Life" lyrics, I must say these days I could made them mine about someone.

The 4th Only Ones single (actually there was an EP between the previous and this one, with "Out There In The Night" on A-side and "Peter and The Pets" / "Lovers Of Today" on B-side (ie., the 1st single), but no real interest to post it here since the A-side was from the Even Serpents Shine LP and the B-side songs were posted with the 1st single there). Released in November 1979, 5 months before their last album (Baby's Got A Gun), the A-side was intended to place the band in the wake of the new wave invasion (worst than crickets' one) with an appropriate production (due to Colin Thurston). Appropriate to the period maybe, but not to the Only Ones since it rather ruined the song, as it would ruin the album. More dramatically, it was in vain cos' the single was not a hit. Note that the lyrics are maybe the blackest, doomest and most desillusioned of the history of singles, not a good way to reach the pop market. I think that most of funeral doom bands could make Perrett's words them without any change. On the B-side, there was a song that would stay unissued on the album, and a long time non included on various compilations for unknown reasons. Too bad cos' "Your Chosen Life" is a good one and would have deserved to be on the album more than some weak ones that finally found the path to the LP. Lyrically, this time it's maybe one of the rudest words told to a girlfriend ever written with the final "... sudden revulsion to think my mouth touched your stinkin', filthy cunt". Not the usual new wave lyrics content. The cover sleeve of this single has a strange history. Actually, it had to be the picture of the band around the table with the crucifix on the wall, but for a reason not quite clear, CBS didn't like it and preferred the parody of the Doors album (even without the song title on it). Bad idea, the former was much better. A third one, totally ugly, with the band in front of a sort of stone carvern, was also often found. That's why I chose the crucifix to illustrate the post (what a surprise?). 

Everybody thinks that they're the one Everybody thinks they're stronger than everybody else They see what happens to their friends They don't believe that's how they're gonna end If you do happen to be stronger It only means you gonna take longer to go under That's the trouble in this world The trouble in this world The trouble is At first you got the upper hand When people warn you, you just don't understand You say it's an old wives' tale And everybody's gonna die anyway This marriage was doomed from the start She's don't wanna have money she just rips out your heart When you part, when you escape from The prison You say he wrote you a message You're superstitious, you know you shouldn't break the chain Don't be scared to have children Anyone would have thought it was pre-ordained If you do happen to be stronger It only means you gonna take longer to go under That's the trouble in this world

Who do you think you are? You can't get away with The kind of things you're saying Must be something wrong with you Remember who you're talking to Nobody's ever treated me that way And escaped unharmed Escaped unharmed The first thing you learn Is people Aren't always half They all could be Go back to your chosen life You shouldn't venture this far I think your bluff lasted it now He opens his mouth And everybody falls to the floor Don't think I'm complaining I've got the feeling for what I hunt If there's a sudden revulsion To think my mouth touched your Stinkin', filthy cunt


Peter Perrett & The One - Live at the Mean Fiddler (1994)

As requested today, a 3rd re-up (on M this time) of this nice live LP from one of ths greatest singer composer on earth. It would be so good he gives us something new. Catch this one here. The details on the initial post below.

Before the release of the Woke Up Sticky EP and LP in 1996, Peter Perrett and his One had done several concerts since 1994 and this is one of them. Very strange for an Only Ones fan as I am to listen to such a different way to back Peter Perrett. Actually, it's not totally different but it's clear that the band does not have this rocking decontraction and efficiency, either in the rockiest or the most dramatic sides, that was (and still is) the mark of the famous secular trio. In particular John Perry is really difficult to replace (but the drumming of Mike Kellie is too). Here the band is however quite good (maybe they play too much notes for me) and in no way it's one of these pathetic concerts that too often rock 'n' roll junkies have done for their comebacks. Peter Perrett has not lost his voice and his ability to make us shivers even if here it seems he's less "in it" than with the Only Ones, surely a little bit of stress and less confidence in his backing band. Some sound options (notably on keyboards) and playing options (on bass) are doubtful and don't fit with Perrett's universe but not often enough to be a problem. Interestingly, some songs here have never been released in studio versions ("Hearts on fire", "You gave birth", "Skin like armour", "Daughter"). This concert has been released twice (in 1999 by Dwarch/Vengeance and in 2000 by Burning Airlines), both under ugly cover sleeves. So I decided to do one more relevant (at least to my view) with the climax of the Peter Perrett's song.


Christophe - Succès Fou / Coeur Défiguré 7" (1983)

Last re-up from Christophe. Not for the A-side (see below) but for the B-side, which not less than one of his most synth-aggressive track. If you like Colin Newman, you'll love this song, there's many similarities between them. Note that he still regularly plays this song on stage (see the video below in 2010), suggesting it was not only a filler for a single. This re-up has the officially released digital version instead of my weakly vinyl ripped version (in the initial post). I'll add more in the further days of these Christophe singles' B-sides that deserved to be remembered. They were announcing the current Christophe undying research for experimental songs. As I recently wrote, there's a new Christophe album on sale now (called Vestiges du Chaos) and it's a way te drive attention toward it, from all over the world if possible (although he sings in French). Catch this forgotten gem here. Below the text written for the first post.

 Actually, this single had "Succès Fou" (crazy success, which means to be popular among women) as A-side and "Coeur Défiguré" (disfigured heart) as B-side. But honestly, "Succès Fou" is no more than the opportunistic slow that Christophe regularly composed to earn enough money to live and to pursue his musical inovations that one could listen to on B-sides and in albums. This one is one of my faves, even if the arrangements sound sometimes a little bit eighties, but more Colin Newman that Depeche Mode or Duran Duran. In 1983, Christophe began a long period of semi-silence that would end in 1996 with his Bevilacqua album (13 years with only some weak singles). After that, he would be considered as a great musical novator by some of those who despised him before, although he is one since the end of the sixties (remember "La Petite Fille du 3ème" or "Rock Monsieur"). The album that he'd released the year of the single was the very weak Clichés d'Amour. In fact, it seems that after a clear progressive evolution towards a dark and bloody atmosphere (with the highly recommended Pas Vu pas Pris, in which Alain Kan, the brother of Christophe's wife, wrote most of the lyrics) Christophe was wondering where to go. He will search his way for more than 12 years. Who could come back stronger than before after such a long break? He did it. I'm very glad to make this rare song, never released on CD before I think, since it demonstrates to everybody how Christophe was, as Alain Bashung was in the same period, a creator of sounds more than a "vedette de la chanson".