5/24/17

Sparks - Big Beat Live at Capitol Theatre (1976)





















1975 will see the second Sparks mutation (after the "Island English period"), maybe one of their most deleterious and unexplainable one (but there'll be unfortunately some more in the future). Weird, in 1976 (an awfully bad year for rock music, it was the urgent that punk wash that away), to adopt a half-hard rock format for such a band. Surely at the times, the general climax has led Ron Mael to take this path (looking back at the Billboard US top 100, I don't really see such a trend in the charts but maybe I miss the point) but it was truly a cul-de-sac and a false step for the band that lost in one year all its newly acquired credibility. I must confess that I didn't follow them at the times and considered they were lost for the cause. It would take quite a time before I get back to them (with Whomp That Sucker in 1981 and their synth-pop 1981-84) period but more enthusiastically with Lil' Beethoven in 2002). So, here we are at the now mythic Capitol Theatre of Passaic in the New Jersey, with the Mael bros and a brand new band who... how to say that without being too rude... does not really match the sparkling glam playing of the previous line-up. Weird as the US backing bands of US artists that had made it in England during the 73-75 period were weak compared to their English pairs (think of John Cale for example but also Ian Hunter). Anyway, it's an interesting testimony. It was filmed and you got the video below. For this post, I tried to improve the sound quality and think I succeeded, at least substantially, so this post is a more interesting that it is supposed to be, this concert being easily available, even on a live compilation album (Sparks Live 1976-82) but with a less satisfying sound. I also created a cover sleeve with an unused picture of the Richard Avedon session that provided the official cover sleeve of Big Beat. Catch it here. More Sparks live to come.


5/19/17

Sparks - B. Sides and a A fake LP (1974-76)

I've always wished that the non-album songs that featured on the B. sides of Sparks singles during their Island years would be gathered on a mini-Lp to be listened to independantly of the associated album. So I did it myself. I'm aware that there are some differences between these songs (not leftovers of second quality but fantastic tuned and arranged tracks). For example, the strong and thick Muff Winwood production of the four formers is rather different from the more sophisticated but weaker Tony Visconti production of "Profile" and still more from the ugly production of the Holmes and Lesser on the two last songs, the latter belonging more to the next period (the Columbia one, although in the UK they were still on Island) than to the great Island one. No matter, I think it's good to have these underrated forgotten songs all together gathered. So catch them here. More Sparks to come.





5/15/17

Subway Sect - Ambition / Different Story 7" (1978)



Weird I'd never re-up this one since the first post in 2009 (almost 8 years, it's crazy). It's one of the best single of the punk era and have never been altered by time. So here it is again. Thanks to Paul for requesting it. I should post more Vic Godard in the near future. 

In 1978, Vic Godard was considered by many, and in particular the musical press, as one of the punks who would become a star, or at least, would do a long and fruitfull career. We were all wrong and it is a great waste. I don't really know what happened in Vic's brain in 1979 and 1980, but he decided to dramatically changed his mind about his musical direction, and if his first album was quite an achievement (but not as much as a Subway Sect album building a sound on this single would have been), his later lounge style did please me at the time but retrospectively, seems a commercial suicide. But maybe it could have worked, I don't know. When it was released, I remember thinking he was trying to become commercial and not that he was trying to kill himself artistically. However, he failed. But back in 1978. With "Ambition", he signed one of the greatest songs of the punk wave. Somewhere between Buzzcocks and the Only Ones, with echoes of Television and Marc Bolan, it is all punk needed to become. Using strange little organ sounds and not the usual punk drumming, avoiding any "new wave" tendency such as XTC or Wire were driving what was first a brutal and simplistic music, Vic Godard and his Subway Sect was really doing something important for the future of the movement. Spectacularily, this song did not lose any of its emotional potential and has travelled through the years quite well. If you are one of those thinking that punk was a bad flash in a loosy pan, give it a try. "Different Story", the B-side (with the text on the cover) is also excellent.


Here's the lyrics of "Ambition"

You can take it or leave it as far as we're concerned. Because we're not concerned with you. What you want is buried in the present tense. Blind alleyways allay the jewels". I am a dried-up seed can't be restored. I hope no-one notices the sleep on me. I've been walking along down this shallow slope. Looking for nothing particularly. Am I guided or is this life for free. Because nothing ever seems to happen to me. And I won't be tempted by vile evils. Because vile evils are vile evils...



5/10/17

Buzzcocks - Live in Hamburg (1981)

Back to my Buzzcocks fixation with this incredibly great concert recorded in Hamburg on the 23rd January 1981, i.e. only few weeks before the band gave up (at least Pete Shelley was the main responsible for that but United Artists was no more supporting so they hadn't enough money to go on). Great because the band has here more energy and skill that he has ever had, even in its punk days. They play fast (all the versions are played faster than in studio and even than in previous live versions) and furious (aggressivity is at its summum). They are no more the poppy side of punk and didn't take the new wave path as so many of their pairs (unfortunately Pete Shelley would take it some months later). They are dark, rough and powerfully melancholic. And above all, the audience is great, very responsive and enthusiastic. Not the kind of ones they met in the US or in the UK anymore. But Germany was always a land of welcome for musicians and bands after their peak of success and is more faithful than most of their original countries (Nikki Sudden and Kevin Coyne among others found refugees there). But back to Buzzcocks. The setlist mainly consists of their main hits but they play 4 songs of their splendid three part-singles (Diggle's "Why She's A Girl From The Chainstore" and "Airwaves Dream" and Shelley's "Strange Thing" and "What Do You Know?") released during the previous autumn (and recently up on FS). Surely their failure precluded them to perform all of them during concerts (I would have loved to hear "Are Everything" and the genius "Running Free" too). And there is a live (and stunning) version of "I Believe" which is not so frequent. This concert was filmed and provided a live DVD (see the Youtube capture below) that I used to make the cover sleeve, but it's great to be able to listen to it without the image too. Surely one of the best live testimony of the band and one of the greatest live capture ever. The sound quality is quite correct. I didn't separate the songs since this kind of thing must be listened in its continuity. Catch this gem here.



5/9/17

Paul McCartney - My Love / The Mess 7" (1973)


Recently asked for a re-up of this single, I do it, 7 years after the initial post. A great single, either for side 1, one of his hits that made him reconsidered again by those who despised him since the Beatles separation, than for side 2, showing the raw and rough side of Macca, too rare for me but it's good when he does it. Note that this song did not benefit of any official studio release but only a live one (such as "Soily" a little bit later). Strange these rocker songs failed to satisfy Macca for inclusion on his studio albums. He should have done, this would have strengthened a little bit his records. Catch it here. Below, the official clip for "My Love" and another great version of "The Mess" played on a TV show in 1973.

Paul McCartney often used the B-sides of his singles (or Wings singles but is it different?) to try things and it resulted in the best (see here) or the worst (quite often unfortunately). Here is one example of the former with "The Mess", a song recorded live that shows that PMC can put intensity and loudness in his rock (remember "I'm Down" or "Helter Skelter"). The A-side was a hit worldwide and is a nice love song but I'm not anymore sensible to it whereas others Macca love songs still move me a lot. Can't explain why.









5/7/17

Sparks - Live at Record Plant (1974)




















This is a recording made by the band  in September 1974, during their US tour, between the release of their widely acclaimed and successful Kimono My House album (issued in May 1974, #4 in UK but only #101 in the US)) and its follow-up Propaganda in November 1974 (only 5 months later, a tour-de-force) which would be a little bit less successful in UK but fared better in the US. This is the reason why there are 2 songs form their next-to-come LP in the set ("Something For The Girl With Everything" and "B.C."). Otherwise, you find the 2 hits "Amateur Hour" and "This Town...", the latter in an extended version (not far from 6 min). The 4 other songs are from Kimono My House. This intimate concert (only some claps at the end of each song) would be broadcasted on KMET-FM's some days later. The sound quality is very good and this live-in-studio can be listened to as if it was an official release (which is not). What's interesting is to realize that the music that Sparks played on Kimono My House was not due to some highly sophisticated studio manipulations, but that the band was able to play it live as it was, showing the natural dimension of this surprising and singular music, that aged so well. Since the Mael's brothers are on the way to publish their 23rd album next September, it's a good opportunity to jump in their old material, and primary in some less-known testimonies such as the previous posts and this one. Catch it here. Note that I used the cover sleeve of one CD LP of this recording.



5/6/17

Halfnelson (Sparks) - A Woofer In Tweeter's Clothing Demos (1968)



I forgot to re-up this one as it was requested. Sorry. This is an interesting testimony of the Mael brothers' beginnings. More in the text I wrote in the initial post below. Catch it here.

Before Sparks, there was Halfnelson, and before the first officially released album of Halfnelson, there was this album called A Woofer In Tweeter's Clothing, a title that the band will use again for the first Sparks album (is it clear?). This album was worth releasing and it's a shame it was not and that it's now a forgotten one, cos' there are many excellent songs among the 12 featuring on it. Some will resurface later such as "Saccharin and the War" or "Roger", but in rather more sophisticated versions. What is clear is that the band had the british pop in the DNA of their songwriting, except for a strong Beach Boys influences. For the sleeve, as many, I was inspired by this information that "Ron Mael designed a sleeve depicting someone flying pas the Eiffel Tower on a surfboard in front of a bright moon". I didn't find the visual material to reproduce the original idea but tried to provide something not too ugly (others have done it, and I did a new one only for the pleasure, not cos' I thought I was doing better). Moreover, the sound version here was found on this site, a much improved sound compared to the vinyl rip you can find elsewhere. Enjoy this testimony of what a great duo was the Mael brother since the beginning of their long lasting career.




4/29/17

Buzzcocks - Complete BBC Sessions (1977-79)



















I'm not really sure this compiled the complete BBC sessions the band recorded between 1977 and their first separation in 1981, but I didn't find any other one so I conclude it's complete. The 14 tracks recorded for the Peel sessions were issued in the famous Peel Sessions Albums series whereas 4 tracks recorded in various other radio shows were issued on an album called BBC (The Archive Series) in which most of the sessions were from the reformed band (from 1993 to 1997). So I did this Complete BBC Sessions album with tracks in chronological order. The reason why there's 2 versions of "Sixteen Again" one after the other one. It's fascinating to see how the band matured over only a time span of 3 years and became a dark and deep musical machine when they began as bouncy pop-punkers. The cover sleeve I did is not a real success but I was a bit lazy tonight. Sorry. The importance is elsewhere, in the music, in the historical dimension of this compilation. Catch it here. I suppose none of you needs any video below to verify whether this is interesting to dl.


4/26/17

Sparks - Wunderbar fake EP (2003)



A long awaited re-up I forgot for unknown reasons. But since there's a new Sparks on the way (release next September under the title of Hippopotamus), it's an opportunity to re-up this incredible fake EP. Note that the Deluxe edition of Lil Beethoven it is driven from is now quite expensive and it's another reason to make it available again. I didn't find the credit for the pictures of the ceover sleeve I created although these images are now rather easy to find. Catch it here. I did a small video with other images of the Asian soccer models playing in the mud since the song was not on Youtube. Maybe it will be deleted because of lack of copyright but I'm trying anyway.

My fave song on the great Lil' Beethoven album... is a bonus track on the Deluxe Edition. It's called "Wunderbar" and it is not sung by Russell Mael (and not sung at all actually) but taken from a certain Gunter Koch, a German radio football commentator. Apparently, this song could be only anecdotical, but, as often with Ron Mael, it becomes impressive and somewhat "inquiétante" (take a dictionary, I can't find a better word in English). Yes this piece of strangeness is addictive even in its ability to distillate a poisoning atmosphere due to the music, not so funny and giving to this song a kind of military flavor reminding the darkest hours of German history. It would have magnificiently fitted in a Cabaret style film. Maybe one future day. The 2 other bonus tracks (on the virtual B-side) are fine too. One is a kind of explanation of the Lil' Beethoven concept by Ron Mael. The last one is an instrumental version of "The Rhythm Thief" and it's a delight. I truly like Russell's voice, but the instrumentals Ron create can stand by their own. Honestly this man is a genius, even if in the past, he often lost the touch, Sparks being for example quite embarassing to hear in the nineteies. But these dark times are over now, and with Lil' Beethoven they became again the great band they had been long ago. For the sleeve, I chose a fantastic series of pictures of young asian girls in underwear playing football in the mud. It is, Sparks fans will admit, exactly in line with a Sparks imagery. Unfortunately, although these pictures are easy to find on the web, none credit the photograph and since I don't speak Korean (I'd say these girls are Koreans but nothing sure) I can't give the credits I would have liked to find. I post this one as Sparks are releasing their 22th album, based around Ingmar Bergman, and I hope this will add another gem to their long career.



4/25/17

Buzzcocks - The Harmony In My Head Session fake EP (1979)






















Weird but I re-up this fake EP 2 days after I posted it the first time. Here's why. Actually, the 2 songs that made it on the single exist in their demo versions and were released on the Mute double CD version of A Different Kind Of Tension. So it's more consistent to substitute them to the finalized and highly produced versions from the single. So, if you dled it in the last 2 days, take this one, you'll have 2 more demos ("Something's Gone Wrong Again" is the instrumental backing of the song). Catch it here.

This is the first of a small series of fake EP consisting of demos recorded in a specific session by Buzzcocks. I begin with this one cos' Steve Diggle specified that it was at this session that "Harmony In My Head" was recorded. Unfortunately, there is not the demo version of the song. My idea was then to put the A and B-sides of the single (without being sure that "Something's Gone Wrong Again" that is on B-side was actually recorded at this session), and to add the other songs recorded at the session. What's interesting is that you have 4 tracks that were never finalize and that you may listen for the first time (except if you have the album Chronology) 2 from Diggle, 2 from Garvey. I changed a little bit the cover sleeve of the single to create this fake EP. Hope you'll like it. More to come. I'm posting this 1 hour now from the result of French election and I fear that I'll say soon that something's gone wrong again, too often it is the case in the damned country.


4/19/17

Morrissey - I'm Throwing My Arms Around Paris 7" (2009)



A requested reup. I'm not in Morrissey these years but it's a fact this is a great song and a great period in his career. Since then, he didn't release anything I found of enough interest to buy or even listen more than once. Maybe he'll do it in the future but he (and I, since we have the same age) is becoming old and time is running away. Catch this gem (about the town I used to live) here.

When the time will come to vote for the best songs of the year, I hope nobody will forget this one by Morrissey, one of the most wonderfull he wrote since the Smiths disbanded. The metaphor is gorgeous and inspired. Similar to the old Smiths period, this is moving without being "niais" (sorry I did not find an English term for this word). I've not followed with much curiosity the career of Morrissey after Johnny Marr and him separated their ways, because it was hard to listen to his new material after such an achievement, but I was wrong and he composed some great tunes with superb lyrics even after. Only the stylish options often bothered me. But with Years of Refusal this year, something made it again for me. And the B-sides album Swords issued this month confirms that I'm still higly receptive to the songs and the voice of this man. This single, released at the beginning of the year, did not find the way to the top of the charts I thought it will find. It does not matter but it shows how the public taste got some dysgueusia these days. I must admit that the present 7" does not exist actually since it is the 2 CD version that contained both B-side tracks I post here, the single having a live version of the great Smiths "Death of the Disco Dancer".



I’m Throwing My Arms Around Paris. In the absence of your love And in the absence of human touch I have decided I’m throwing my arms around Around Paris because only stone and steel accept my love In the absence of your smiling face I traveled all over the place and I have decided I’m throwing my arms around Around Paris because only stone and steel accept my love I’m throwing my arms around Around Paris because only stone and steel accept my love I’m throwing my arms around Paris because Nobody wants my love Nobody wants my love Nobody needs my love Nobody wants my love Yes you made yourself plain Yes you made yourself very plain

4/15/17

Buzzcocks - Parts 1-3 (1980)




















It might sound weird, but as a "first-hour" Buzzcocks fan, the period I cherish the most in their discography is the second side of A Different Kind Of Tension LP released in September 1979, and these 3 singles released as Part 1, Part 2 and Part 3, with reversed A and B-sides (one by Pete Shelley, one by Steve Diggle) according to samples, and that were maybe supposed to provide a longer series (but this will surely be explained a near-to-be-published biography written by Tony McGartland). What is so remarkable in this series is that the band has left his lightweight approach of punk for darker, harder and oblique options. Buzzcocks always had this little more class-touch compared to other bands issued from the punk movement (even compared to Wire) and here, allied with a denser and deeper music, full of new instruments (horns, cello) and a harder visual, they reached the top of what could be expected by punk. Moreover lyrics are no more about romances but about psychic distorsion or mental confusion in Shelley's ones, and down-to-earth everyday living condition in Diggle's ones. Released in August, October and December 1980 respectively, these 3 part-singles were the epitome of the band grandeur. Unfortunately it was too their swansong since they soon disbanded the next year, Pete Shelley beginning a solo career (with Martin Rushent helping for production) which, on paper, should have been a triumph but was not, either musically (although the 2 first albums have their moments, but too much synthetic for me) or commercially. So, here are these 6 great songs. Note that among them, only Diggle's "Why She's A Girl From The Chainstore" is regularly played on stage to this day (saw them recently in Paris and it was). But in 2016, it seems they played for the first time since 1980 "Strange Thing" and "Running Free", 2 of the bests of the load. Catch this gem here. Below I posted the front and back cover sleeves (note that sometimes the front and back were reversed) and a video from the song, with one clip (not really good) that was shot for "Why She's A Girl From The Chainstore"

















4/14/17

Nikki Sudden & The Jacobites - Jangle Town / The Last Bandit 7" (1986)




















This 6th single/EP from Nikki Sudden was released under his name and the Jacobites. Actually, his association with Dave Kusworth appeared to be short-lived, only 2 years (but they would play again together, and much longer, in the nineties). Driven from the wonderful album Texas (his best for me), recorded in June and July 1986, the A-side was not really able to catch enough attention on a single. The B-side was a non-album track and would even become some years later the name of a compilation, and a classic stage song. All this is enough to consider interesting to post this single (that was not released in an EP version such as it was the tradition in the eighties). Catch it here. PS. The sleeve is a picture of mine since I have bought this 7" when it was released.


4/12/17

The Jacobites (Nikki Sudden & Dave Kusworth) - When The Rain Comes EP (1986)




















I've been out of blog activity some days due to holidays taken with my babe (now that I have one I can spend time with) but now I'm here again with this new Nikki Sudden stuff, the 5th single/EP of the series, but released under the Jacobites entity, without any name associated. Consisting entirely of songs that were not kept for the purposed double Robespierre's Velvet Basement (finally released in this format by Secretly Canadian in 2002), this is a stunningly good EP with no less than 6 songs on it. The title track is excellent, even if it's more than influenced by Hendrix's version of Dylan's "All Along The Watchtower". "Country Girl" is a wonderful Kusworth's song, and it's true that in this duo, we had the same pleasure to listen to his songs than to Sudden's ones, which was not a small challenge. I won't give a word for each of these songs but you'll see that they deserved not to be forgotten after all these years. Catch them here.




3/29/17

Nikki Sudden & Dave Kusworth: Jacobites - Pin Your Heart To Me EP (1985)





















More and more the duet was melting in a real band that would take the name of the Jacobites (nothing to do with the Jacobins, although the name of the LP featured Robespierre (one of my heroes). This EP is somewhat weird since the title track is proposed in 2 versions. One with a short title ("Pin Your Heart") and mainly sung by Nikki Sudden (first on A-side), the other with the complete title ("Pin Your Heart To Me") and sung by Dave Kusworth (second on B-side). Personally, I prefer the NS version but both are nice. On the B-side you have 4 lo-fi acoustic songs, 2 sung by NS, 2 by DK (nothing to do with me). It's rather plaintive and those who do not appreciate this musical side of the duet had and will surely find it boring. In 1985, I was really fond of that style, and it made me change my mind on the musical direction I had taken, leaving 80's pop and getting back to my old 70's stuff. Today, I feel it was a little bit self-indulgent but I've still affection for these guys. More to come. Catch it here.


3/26/17

Nikki Sudden & The Last Bandits - Live in Germany (2000)



















First of several re-up of concerts or radio shows by Nikki Sudden recorded in the 2000's. Here in Germany in 2000. More details below in the first post. Not a great live set but interesting anyway. Catch it here.

Long I didn't post. Afraid I got less and less time (and envy).Tonight a live recording by Nikki Sudden, caught in 2000 in Germany (it seems this concert was captured on the 1st of July, at least that's what is written on the CD-R that someone gave me some years ago) backed with his regular band of the times, The Last Bandits. Hearing NS, it seems he was rather upset not to be paid for playing on that night. Don't know if this is the reason he doesn't seem very involved in the songs. Moreover the setlist is not full of gems. And the sometimes funky arrangements are not a brilliant idea. But it's always heart-shaking to listen to Nikki anyway. I'll post more from him in the future, and in particular will try to track his singles and EPs as I did for Dan Treacy (at least in the nineties). Of course I did the fake cover sleeve myself, not really a surprise. PS.

3/23/17

Paul Mc Cartney & Wings - Get You Ready For Live Newcastle (1973)




















This may seem weird to you but the 1971-73 era was my fave for McCartney solo career. Not that is was always a success in terms of melodies, sound, play and lyrics, but there was a welcome freshness in the post-Beatles work of McCartney. Live, it was another story, the band being somewhat erratic on stage. But the instrumentation had this lo-fi savour that finally would influence the whole indie scene in the 80's. In this setlist, the most interesting is when Macca is the more abrasive and raw such as in "The Mess" or "Wild Life", but there are several sapid moments in this good sounding bootleg. Not a very rare testimony but I feel that this live set has to be on FS. Catch it here.


3/18/17

Black Sabbath -Beat Club (1970)



















Strange alternating posts between Nikki Sudden and Black Sabbath these days. But I'm a "fan" of both so where's the problem after all. Tonight two sets of Black Sabbath captured at their beginnings as Black Sabbath in a famous German TV show called Beat Club where so many have played in the late sixties and early seventies. Often the 4 songs are provided as if they had been recorded in one session but actually 2 were recorded before the Paranoid album was recorded (in May 1970) and 2 after it was released (in November 1970). The sound is correct but would deserve to be remastered. What's weird is to listen to Black Sabbath playind the Carl Perkins classic "Blue Suede Shoes". Not that it fits them so well but an historical testimony for sure. Catch it here. PS. I did a totally new cover sleeve without using the poor quality images of the show but I assume I could have done better. If you want the images, I added the Youtube videos of the show below.


3/15/17

Nikki Sudden & Dave Kusworth - Shame For The Angels EP (1984)



The 3rd Nikki Sudden single was actually an EP and a duet one, sealing a long-term collaboration with Dave Kusworth, leading NS far from the Swell Maps universe and close to a Faces/Rolling Stones/Neil Young revival, a very weird move in 1983, a year that was marked by a hard trend toward New Wave full of synths and boxbeats. A reason why I was so fond of what would soon become the Jacobites (actually Jacobites was the name of the LP that was recorded in the autumn of 1983 when this EP was recorded on the 4th of Juy 1984). Of course, it was not really innovative but there was all the charm of this rock 'n' roll attitudes that was so precious for us in the early seventies, and that this 2 "gentlemen" were bringing back. Fortunately, the band would improve in the further years, and notably in 1985 since their beginnings were a little too laid back for me, and using repetitive gimmick such as the "All Along The Watchtower" riff. But it was part of the game, they even said it to the press. Note that if you're a Nikki Sudden afficionado, you may be desapointed since Dave Kusworth sings 2 of the 4 songs and notably the title track. It's true that he often had the more potentially commercial tunes. Catch it here PS. The back cover is not the actual one but I didn't find (it's one of the rare NS records I do not own in vinyl).


3/12/17

Black Sabbath - Live in Brussels (1970)



















Often called "Live in Paris" and considered to have been recorded at the Olympia on the 20th December 1970, this concert was actually recorded in Brussels on the 3th October 1970. This version is the one that has been released in the Super Deluxe box of Paranoid. The sound is very good but the bootlegs were good too, contrary to the Montreux concert that had very bad quality bootleg. Strangely, the band here is not so powerful than at Montreux, less concise and tight but this is a light critic given the incredible innovative dimension of what this band was bringing to the rock scene. Catch it here.