The Move - Colour Me Pop 1969

 #The Move #Roy Wood #Jeff Lynne #psychedelic rock #blues rock #hard rock #British psychedelia #psychedelic pop rock #art rock #proto-prog #proto-metal #1960s #music video

Colour Me Pop was a BBC television series from the late 1960s that devoted itself to some of the best rock & roll acts of the period, without the usual compromises that such programs engaged in - groups would perform on camera, with their microphones live and their instruments plugged in, for as long as 30 minutes at a clip, and they wouldn't limit themselves to singles, either; Colour Me Pop was among the first television shows on either side of the Atlantic that could be used to perform and showcase album-length bodies of music.
The Move's set captures the four-man lineup behind Shazam in peak form. Whether they're playing hard electric numbers like "I Can Hear Grass Grow" or acoustic guitar driven pieces such as "Beautiful Daughter," or pieces that were otherwise unrepresented in their history, such as "The Christian Life" and "Goin' Back," they sound great - indeed, the version of "The Last Thing on My Mind" here is superior to the officially released studio recording on Shazam, and also makes good use of super-imposition and split-screen effects for its time. Oh, and the sound is excellent.
From: https://www.allmusic.com/album/colour-me-pop-the-small-faces-the-move-dvd--mw0001009492

I've seen the Moody Blues, Small Faces and The Move episodes of Colour Me Pop. Does anyone know if these performances are studio backing track with live vocals?

Somewhere in the dark part of my brain I remember seeing a web site that dealt with that very question. The interesting thing was that it varied, even within a particular episode. For instance, 'Fire Brigade' on The Move show is live, but there are other songs that aren't.

The Move January 1969
Several tracks are completely live - vocals and band - either that or the totally "live" numbers were exclusive pre-recorded backing tracks. Fascinating to see and hear Carl Wayne on bass on "The Christian Life" and interesting to compare the vocals on "I Can Hear The Grass Grow" to the 1967 "Beat Beat Beat" version with Ace Kefford. "Fire Brigade" is just magnificent. However, "Wild Tiger Woman" is a mime to the single release, as is "Something". "Beautiful Daughter" is a curious one - it's a mix of what appeared on "Shazam" - the vocal is identical but the mix is very different since it features a drum part on it and there's no strings - I think - getting a bit confuddled here myself (hence swiftly re-editing this post a couple of times). All three shows are magnificent slices of early colour British pop TV. How tragic that the vast majority of episodes of this show were wiped - editions featuring Love Sculpture, Family, David Bowie, Orange Bicycle, The Kinks, The Hollies, Manfred Mann and many more, all lost forever.

From: https://forums.stevehoffman.tv/threads/colour-me-pop-uk-tv.146238/

Occasionally plundered for clip shows, The Move’s Colour Me Pop appearance from 4th January 1969 saw them tearing through hits like Flowers In The Rain and Fire Brigade as well as the popular b-side Something, chaotic chart-missing single Wild Tiger Woman, a work in progress version of Beautiful Daughter, and covers of the Gerry Goffin and Carol King number Goin’ Back and bluegrass standard The Christian Life, both of which had recently also been covered by The Move’s noted favourites The Byrds. As well as an early sighting of the sort of glittery jackets that the Carnaby Street boutiques had recently started to sell – maybe inspiring David Bowie and Marc Bolan to take a trip to Alkasura the following Monday – this performance is also notable for capturing the band as they were adjusting to the recent departure of original bass player Ace Kefford. The Move had always shared out lead vocals as the ‘narrative’ of each song dictated – if you want a good trivia question to catch someone out with, ask them who the first person heard singing on BBC Radio 1 was; chances are they’ll know the first record played was Flowers In The Rain and automatically say Roy Wood, but the opening verse was actually handled by Carl Wayne – and Ace Kefford can be heard prominently on many of their best known singles. Although any fan of The Move would be able to tell that they were audibly struggling to compensate for his absence in places, their vocal interplay nonetheless caught John Lennon’s attention; while discussing how to approach The Beatles’ new songs, he mentioned the effect that The Move’s distanced stage positioning had on their vocal arrangements and began playing around with ideas inspired by that. This was an especially startling moment for me, as when I had a chat with Beatles expert Chris Shaw about the Yellow Submarine soundtrack, we got on to the subject of speculation about how The Beatles might have sounded if they had started playing live in 1968. Sceptical of some of the more fanciful ideas of string sections and elaborate stage effects, I had suggested instead that they’d have sounded more like the flashy psychedelic pop captured on the live album Something Else From The Move. It’s quite something to realise how close to the reality that very nearly was.  From: https://timworthington.org/2021/12/21/did-you-watch-the-bbc2-thing/

Beth Orton - Shopping Trolley

 #Beth Orton #folktronica #folk rock #trip-hop #contemporary folk rock #electronica #singer-songwriter #music video

Has Beth Orton ever sounded as angry as she does on "Worms", the caustic kiss-off that opens her fourth album? "I'm your apple-eatin' heathen, any ol' rib-stealin' Eve," she sings on the chorus, turning talk of original sin into empowering invective against some unnamed target. It's an odd song with an odd little shuffle to it, and even though it sounds uncannily like Fiona Apple (right down to her rushed cadence at the end of the second verse), the track reminds you how singular Orton seemed on her first two albums and how much she buffed away the rough edges on her third album, Daybreaker, an AOR makeover that aimed for but missed the same listeners who one year later made Norah Jones a sensation.
So it's nice to have the old Beth Orton back. It's also nice to have Jim O'Rourke at the helm, particularly because he puts some rhythm back into her songs. Orton needs it, too: Her voice hits your ears at an angle, as if refracted prismatically, and O'Rourke's sturdy beats don't reset that angle to perpendicular so much as make sure it hits its target with a little more force. Comfort of Strangers is strongest when O'Rourke and percussionist Tim Barnes translate Trailer Park's spacey effects into earthier rhythms, especially with the oscillating bass line and tight drum beat on "Conceived". They let loose on "Countenance" and are joined by what sounds like a full band on "Shopping Trolley". The intro to the title track sounds like "Walk on the Wild Side", but to their credit, Orton and O'Rourke undercut that seedy strut with handclaps, sparkling piano, and perhaps her most straightforward performance.
Orton's vocals - so arced and mellifluous - reign over all other sounds on Comfort of Strangers. On Daybreaker, her voice sounded like an empty vessel, beautiful but conveying very little; here it has a very real personality behind it, one that allows itself to be angry, cynical, hopeful, and snide - a complex and compelling emotional mess. This attitude fits her songwriting well, giving her words added resonance. On "Heartland Truckstop" she sings, "I wanted to love, but I turned 'round and hated it," and her strong, glaring delivery of that second line - as if she's making eye contact through her voice - reinforces not just the wordplay, but the cheated disappointment of the sentiment.  From: https://pitchfork.com/reviews/albums/6050-comfort-of-strangers/

XTC - Dear God

 #XTC #new wave #post-punk #progressive pop #art rock #pop rock #baroque pop #art punk #power pop #psychedelic pop rock #1980s #1990s

Andy: “This was the B-side to ‘Grass’, but radio stations started to flip it over. The lyrics really got up some people's noses, and it became a big radio hit. Whoever first flipped it probably saved us.”

Andy (on the band demo): “A lot has been written and wrangled over with this song, and, you know, it hasn't deserved it. I just tried to wrestle with the paradox of God and the last dying doubts of belief that had hung, bat like, in the dark corners of my head since childhood. I'll just say one more time this song failed to crystalize all my thoughts on the subject in under 4 minutes. Human belief is too big a beast to bring to the floor in such a short time.

“This tune had a few incarnations. It started as a kind of skiffle rag with a much bluesier melody but after several blacksmith like bending and bashing sessions (oddly, in my kitchen) it gradually morphed into its well known shape.

“On the run up to the Skylarking sessions with Todd Rundgren, we congregated at Dave's tiny terraced house, in Swindon's Stanier Street, to record a few band demos on his four track reel to reel. So, awash with much tea and ginger biscuits, we tackled this and ‘Summer's Cauldron’, trying to get something presentable for Todd. Dave found a very ‘House of the Rising Sun’ arpeggio guitar figure to ornament my rather pedestrian acoustic strumming, while Colin anchored away with the Linn drum pretending to be a future Prairie Prince. The Mellotron had been living at Dave's for a few months (where he would tend lovingly its Heath Robinsonesque guts) so we decided this would supply the strings, I'd asked for something a bit Gershwin in the middle, a pinch of ‘Summertime’, a soupçon of ‘It Ain't Necessarily So’. You know, ‘Dat Ol' Debbil Be A Coming Missy’, orchestral blues bend. I remember that Dave's front room floral wallpaper seemed to gaze down at us with almost temperance meeting scorn, as we stirred up our sinful sounds that afternoon.

“Surely, for this tune, we will burn in Hull.”

Andy (on the skiffle version): “Found this a while back laying cowering in a corner of a cassette. It's pretty much me feeling-out the tune with blah blah type lyrics. Little did I know that this piece of brain blurt would be the tip of the iceberg to so much more acceptance for XTC in the U.S. Thank you God.”

From: https://xtc.fandom.com/wiki/Dear_God

Andy is a militant atheist. It's amazing how people see what they want want to, no matter how clear the message is. The idea that he must believe in god because it's addressed to god is just silly. It's a lyrical device...take a literature course. For those who refuse to see the song for what it is and how it was meant, here is a quote from Andy about the song: "it [Dear God] failed in part, because it wasn't as caustic as I would've liked it to be. It should've been a nail in throat of the public, but instead some took it as a declaration of faith when I wanted to make it clear that I don't believe in God - and that even if there is a He or a She they have nothing to do with organized religion." Just watch the video for Dear God. Andy is attacking the massive twisted tree (religion) that people are desperately clinging to, which is exactly what he is doing in the lyrics. I really don't see how he could be any clearer.  From: https://songmeanings.com/songs/view/103714/ 

Purson - The Contract

 #Purson #Rosalie Cunningham #psychedelic rock #progressive rock #stoner rock #occult rock #neo-psychedelia #music video

Purson was a psychedelic rock band originating from London, England, active between 2011 and 2016. Described by bandleader Rosalie Cunningham as "vaudeville carny psych", the band utilizes a wide range of sounds including psychedelic rock, folk, acid rock, occult rock, prog and a general inspiration of 60s and 70s rock. Purson gained significant buzz with only a handful of songs on Soundcloud before signing to Rise Above Records and being named the band of the week by one Fenriz of Darkthrone early on. The band name has its origins in demonology, in which Purson is one of the Kings of Hell. Cunningham wanted to name the band after a god. After not finding any god-like names that they liked, they searched in the names of demons or devils. Purson managed to release two studio albums in their short tenure along with touring throughout Europe and The United States, building their name up as a rising act in the UK rock scene.  From: https://riffipedia.fandom.com/wiki/Purson

While her previous band, Ipso Facto, always had a sense of drama about it, Rosalie Cunningham moved into an even more theatrical direction with the formation of Purson - she described the band as specializing in "vaudeville carny psych." Exploring the world of proto-metal, the English group wove together influences like Cream, Deep Purple, and Jethro Tull into a quasi-mystical pastiche of psychedelic wonder made up of fuzzed-out guitars and Wurlitzer organs. Purson's full-length debut, the well-received The Circle and the Blue Door, arrived on Metal Blade in 2013. 2016 saw the band make the move to Spinefarm for their sophomore outing, Desire's Magic Theatre. The group ceased operations the following year, with Cunningham embarking on a solo career in 2019.  From: https://www.allmusic.com/artist/purson-mn0002881568/biography

The Golden Grass - One More Time

 #The Golden Grass #hard rock #heavy psych #blues rock #heavy metal #retro-1970s #music video

The Golden Grass are a rock band from Brooklyn, New York. Following close on the heels of the 7” single “One More Time,” the group’s self-titled debut album is one of refreshing, modern-sounding Blues/Rock in the vein of Led Zeppelin and Cream. “Please Man” opens up to some trippy, distorted guitar effects before giving way to the frantic drum fills that introduce the song’s exuberant main riff. From the wailing solos to its working-class lyrical content and spacey sound-effects, this song is a great introduction to the band, especially in the sense that it showcases the genuineness that permeates throughout “The Golden Grass”. Many groups only imitate the sounds they were inspired by originally, but The Golden Grass manage to channel the upbeat, carefree sounds of 60s/70s electrified Blues while sounding no less up-to-date in the process. Michael Rafalowich’s guitar playing is spot-on, reaching a great balance between technicality and musicality. In addition to his solid vocal performance, Adam Kinrey’s enthusiastic drumming is also noteworthy, maintaining a solid rhythmic foundation while also using the instrument to add to the energy and vibe of each song. “Stuck On A Mountain” is, to me, an even better realization of the band’s musical vision. Relaxing, infectious, and soulful just a few of the words that can be used to describe this sprawling, nearly-seven-minute long track, one of catchiest songs here. Lead single “One More Time,” with its confident, swagger-filled riffing and slower pace, is another winner, rocking with plenty of attitude before ceding to the bluesy behemoth that is “Wheels.” This song, like “Stuck On A Mountain,” is the complete package as far as key Golden Grass elements go, though its sheer length makes it just a bit harder to digest. Still, it is yet another inspired performance, replete with memorable lyrics, riffs and melodies and a great overall feel to it, mixing in psychedelic sounds and acoustic passages to great effect while never sounding pretentious. “The Golden Grass” is a breath of fresh air in this highly commercialized, post-Nirvana musical landscape we exist in today. The music itself is heavy, but the mood is much less so, and the group’s authentic, entertaining brand of feel-good Blues Rock will appeal to lovers of almost all kinds of rock music as well as old-school heavy metal fans.  From: http://www.metal-temple.com/site/catalogues/entry/reviews/cd_3/t_2/the-golden-grass-the.htm

Carole King - Pleasant Valley Sunday (demo)

 #Carole King #singer-songwriter #pop #folk pop #pop rock #Brill Building #1960s #1970s

Carole King established her solo career in 1971 with her hit album Tapestry, but in the lead up to this she had already written hits for artists such as The Shirelles, Aretha Franklin, The Monkees, The Drifters and more. To celebrate her music and 'Beautiful - The Carole King Musical' currently in London, we've put together a list of popular songs you probably didn't know were hers.

The Beatles - 'Chains' 1963

Originally written for girl group The Cookies, 'Chains' became a popular cover song for Liverpool bands, and was an early track in The Beatles' live sets. In 1963, The Beatles recorded a version for their debut album LP Please Please Me. George Harrision took lead vocals and this was the first time fans heard him singing on a commercially-released song.

Dusty Springfield - 'Goin’ Back' 1966

Made famous by Dusty Springfield, the song perfectly describes the loss of innocence when becoming an adult, and hoping to recapture an essence of youth. David Crosby lost his place in the Byrds after criticising their decision to record the song. It has been covered by Freddie Mercury, The Pretenders, Bon Jovi, Phil Collins and Diana Ross among many others.

The Shirelles - “Will You Love Me Tomorrow” 1960

The Shirelles' original is one of the most well-known soul tracks ever recorded. Lead singer Shirley Owens originally didn't want to record this track, as she believed it sounded too country. This became Carole’s first No. 1 at the young age of 18. It was later recorded for her 1971 album, Tapestry. It has been covered countless times, by everyone from Dusty Springfield to Amy Winehouse. Apparently, Carole hailed the Bee Gees' cover as the "definitive" version.

The Monkees - 'Pleasant Valley Sunday' 1967

Gerry Goffin wrote the lyrics about the faults of suburban life, based on the street he and Carole lived on called Pleasant Valley Way in West Orange, New Jersey. It became one of The Monkees' most successful singles.

The Byrds - 'Wasn’t Born to Follow' 1968

Released in 1968 on 'The Notorious Byrd Brothers' album, it was used the following year to great effect on the soundtrack of Easy Rider. It has also been covered by Dusty Springfield, appearing on the 1999 'Dusty in London' album of lost recordings. Carole recorded her own version in 1969 when she was fronting a group called 'The City'.

Steve Lawrence - 'Go Away Little Girl' 1962

The lyrics consist of a man asking a young woman to get away from him, so that he will not be tempted to cheat on his girlfriend and kiss her. Control yourself, please. Later recorded in the 70s by Donny Osmond.

Aretha Franklin - '(You Make Me Feel Like) A Natural Woman' 1967

Made famous by Aretha Franklin, it also appears on Carole's 1971 album, Tapesty. This powerful song has been taken on by various female powerhouses, including Celine Dion, Mary J Blige, Kelly Clarkson, Bonnie Tyler and, obviously, Rod Stewart.

From: https://blog.seetickets.com/2016/01/18/19-popular-songs-you-might-not-have-known-were-written-by-carole-king/

Carole King & Gerry Goffin

 

Kula Shaker - Govinda

 #Kula Shaker #psychedelic rock #neo-psychedelia #raga rock #post-Britpop #psychedelic revival #world music #1990s

By reviving the swirling, guitar-heavy sounds of late-'60s psychedelia and infusing it with George Harrison's Indian mysticism and spirituality, Kula Shaker became one of the most popular British bands of the immediate post-Brit-pop era. More musically adept and experimental than many of their contemporaries, Kula Shaker brought the overpowering rush of Oasis to psychedelia. Led by vocalist/guitarist Crispian Mills (born January 18, 1973; the son of '60s actress Hayley Mills and film director Roy Boulting), Kula Shaker were initially a psychedelic quartet called the Kays, which formed in 1993. In addition to Mills, the Kays featured his teenage friend Alonza Bevan. The two had previously played together in a band named Objects of Desire; during that time they also ran a psychedelic nightclub in the back of an ice rink. Following the dissolution of Objects of Desire, Mills made a spiritual pilgrimage to India, and upon returning he formed the Kays with bassist Bevan, drummer Paul Winter-Hart, and vocalist Saul Dimont. Within a year, Dimont had left and organist Jay Darlington had joined the band; prior to joining the group, Darlington had played in several mod revival bands. After spending two years touring and recording, releasing two EPs on Gut Reaction Records, the group had not made any headway. According to Mills, the band changed its name and direction in the spring of 1995, when he had an epiphany that the group should be called Kula Shaker after a ninth century emperor and pursue a more spiritual direction. For the next three months, they performed as Kula Shaker, and they quickly received a record contract with Columbia, which was eager to sign another band that had the multi-platinum crossover appeal of Oasis.  From: https://www.allmusic.com/artist/kula-shaker-mn0000776408/biography

Kula Shaker’s Crispian Mills, now 27, is the son of actress Hayley Mills, so he met a lot of artists (including David Gilmour) when he was growing up in the '70s and '80s. Some of those artists introduced him to Indian music and philosophy when he was only 10, and by the time he was 16 an interest had grown into an obsession. "I finally got on a plane to India when I was 20," he says. "When I got there, I was very lucky to meet people who understood the best aspects of India, especially the older devotional traditions. I was lucky because India is sinking more and more under the weight of the industrial world we live in. A lot of the time they don't notice the treasures they've got because they want to stock up on Coca-Cola and get a satellite TV. I don't know how long it will last, but it's still there." Mills didn't become a classical Indian musician, however. Instead he tried to integrate elements of Indian culture into the rock'n'roll he had grown up with. He found that the droning guitar tones and repeating rhythms of psychedelic-rock were especially easy to blend with Indian music. "Because psychedelia in its purest sense, putting aside all the drug associations, is about mind expansion, it fits in nicely with the Indian concept of transcendence. Both want to take us beyond what we already know into fresh territory, fresh experience, a fresh outlook. They complement each other.” "The world has shrunk to the size of an orange," he adds, "so we're rediscovering our planet and all these interesting people in different places. In the West, we have a monopoly on technology, but we have a lot to learn in other areas. And we should learn it before it disappears forever."  From: https://www.washingtonpost.com/archive/lifestyle/1999/07/09/kula-shaker-what-a-concept/1baea3a4-0d82-4b3f-b7dc-b923da508b7e/

The Kentish Spires - You Better Shut Your Mouth

 #The Kentish Spires #progressive rock #retro-Canterbury Scene #progressive folk rock #progressive jazz rock

Lucie Vox has a very English voice, and at times I find myself being reminded of Maggie Bell or Chrissie Hammond. Musically The Kentish Spires have obviously been heavily influenced by the Canterbury scene, and there is just no way that this sounds as if it has been released in 2018. The use of a real sax makes a huge difference in the sound, while the Hammond organ is used to provide wonderful footnotes and trills, and Lucie either sings in a distinctively English accent or can provide 'Great Gig In The Sky" style vocals in the background while the instruments take the lead. Perhaps it isn't surprising, given the pedigree of those involved, that this never comes across as a debut album from a virtually unknown band, as it is incredibly polished yet still contains the exuberance and stylings of bands such as Procol Harum, and it certainly feels as if it was recorded fifty years ago as opposed to now. There is a sense of fun and enjoyment in the album, one can almost feel everyone looking at each other and smiling as the songs are recorded. Numbers such as "Spirit Of The Skies" are bright and full of light, even if again it all sounds very dated indeed. It doesn't take long for the listener to feel that this sense of authenticity and return to the early days of the progressive rock movement is very much part of the overall sound and it is to be welcome and enjoyed for what it is. When the flute and piano are bouncing off each other all the listener can do is close their eyes and just go with the flow, become one with it all. Traditional progressive music, if there is such a thing, is rarely better than this, and it is incredible to realize that this is just the debut.  From: https://www.progarchives.com/artist.asp?id=10638 

Fleetwood Mac - Station Man

 #Fleetwood Mac #Mick Fleetwood #John McVie #Christine McVie #blues rock #heavy blues rock #psychedelic blues rock #blues-based pop rock #1970s

Peter Green is gone and he took his blues with him. Which means now Fleetwood Mac have to figure out what their new signature sound will be without him there. It'll take another five years, six albums, and the removal of half the original band for them to find that sound; but for now we have this: Kiln House. For the most part, this is the remaining members of Fleetwood Mac doing damage control. They can't play the blues anymore so what can they do? Well, they can play rock music I guess. Jeremy Spencer has returned to the spotlight after having been accidentally pushed to the side on Then Play On, and for the most part his stuff hems more towards classic rockabilly. He gets a Sun Records sound on "This Is the Rock", pays tribute to Buddy Holly on "Buddy's Song" (a track he credited to Holly's mother), and impersonates the classic vocal doo-wop groups with "Blood on the Floor" and the closing "Mission Bell". They're OK, but they don't really point the way forward. For that, you have to look to Danny Kirwan whose songs are more built around contemporary roots rock than classic 50s rockabilly. "Jewel-Eyed Judy" is the closest song that approaches the bluesy sound of classic Fleetwood Mac but it's not as much of a showcase of guitar pyrotechnics the same way the Green material of old is. It's far more subtle in its attack, which makes for a track that maybe doesn't hit as hard as the best of Green, but certainly makes for intriguing listening. On the same level is "Earl Gray", an instrumental which feels like the natural progressive evolution from the second half of "Oh Well". But if any Kirwan track points toward the future for Fleetwood Mac, it's "Station Man". And that primarily has to do with the uncredited arrival of Christine McVie on vocal and piano work. The woman who will later write "Say You Love Me" and "Don't Stop" isn't an official member of the band yet, but the moment you hear her distinctive voice breaking through the boys' club on the harmonies, it's an immediate attention-grabber that shows the way towards where this band will eventually end up.  From: https://rateyourmusic.com/release/album/fleetwood-mac/kiln-house/

Gaupa - Kartan

 #Gaupa #doom metal #psychedelic rock #stoner metal #progressive rock #folk metal #Swedish

Gaupa has already been described as "Bjork fronting a rock band" and although we can see where that description is coming from there is far more to Gaupa than an unusual and unique voice placed in front of a rock'n'roll backdrop. First thing one notices about Gaupa (the band) are the levels of musicianship on display here; solid, tight percussion combined with deep growling bass lines are the backbone around which Gaupa's two guitarists lay down diverse washes of delightful  and dynamic six-string colouring, the pair not so much going head to head as complimenting each other with a mixture of eastern motifs, shimmering arpeggios, crunching heavy powerchords and scorching psychedelic lead work. However it is the vocal acrobatics of  Emma Näslund that many will leave this EP remembering long after the last note of "Gaupa" fades into silence. Näslund  has a unique tone and delivery and it is easy to see why those comparisons with Iceland's elfish chanteuse have been made as both singers have that same distinctive vocal elasticity in their armoury, however where Bjork's voice sometimes wanders into shrillness there is a smoother more fluid timbre to Näslund's vocals that is, for us, far more pleasing and easier on the ear.  From: http://stonerking1.blogspot.com/2018/07/gaupa-gaupa-review.html

An amalgam of psychedelic rock, stoner metal, and doom metal with female lead vocals. It's a style that many bands have played in the 2010's, especially following the success of Jex Thoth and Blood Ceremony. Gaupa pursue generally the same style as those bands, though with their own nice little nuances. There is a nice balance between calm, drifting psychedelic sections, and abrasive, rocking doom and stoner metal pounding. A nice, thick bass line carries fluid, desert-ish guitar leads, which sounds very atmospheric. What truly gives the band their identity is the vocal style of Emma Näslund. If you go on the group's bandcamp page, you'll see that they are all comparing her style to that of Björk and they are absolutely right. "Psychedelic/Stoner/Doom Rock with Bjork on vocals" all I can say is hell yeah. The singing is awesome. She does ethereal chants, crazy shouts, enunciates words playfully and gently, she sounds awesome. She really adds that quirk to the music that helps the band stand out, especially on the playful rocker track 'The Drunk Autopussy Wants to Fight You (perhaps one of the best song titles ever).  From: https://rateyourmusic.com/release/ep/gaupa/gaupa/

 

Mediaeval Baebes - 10th Anniversary Live

 Part 1

Part 2

 #Mediaeval Baebes #medieval music #choral music #traditional #crossover #a capella #vocal ensemble #ex-Miranda Sex Garden #live music video

Mediaeval Baebes have been called classic music's Spice Girls and early music Pussy Cat Dolls for their sexy contemporary approach to medieval music. Katherine Blake founded the group in 1996 after she left the goth music group Miranda Sex Garden. Katherine explains, "One of the inspirations for forming the Baebes was my participation in (another) Mediaeval ensemble called Synfonie, performing mostly Hildegard plainsong. The group also introduced me to a song called Salva Nos which I performed in a cabaret in Berlin. That song was the first we ever sang together and also the name of the first album we made." After returning to England she called her girl friends together and taught them the song then outlined her vision for an all female choral group. Her timing couldn't have been better. The music scene which had been dominated by male groups was about to be kicked over by a new breed of gutsy female vocalists starting with the Spice Girls. Even before the Spice Girls’ first album was released, the Mediaeval Baebes were working up enough songs for their first concert, which was held in a cemetery. Soon they made a demo tape and sent it off with high hopes but low expectations. Within days they were signed by Virgin Records sight unseen. The executives must have died and gone to heaven when they saw the Baebes for the first time and realized what a sizzling effect these young, sexy women in flowing white gowns produced on their audience as they wove an enchanting tapestry of heavenly music.
In the years that followed they have produced six albums, a live performance DVD, a songbook, a book of erotic art called Songs of the Flesh, and have toured all of Great Britain, Europe, and North America. In the USA they toured with Lilith Fair where they developed quite a reputation for pranks. Rachael Van Asch, the band's only blond, recalls those days, "like when our drummer boys Hans and Trevor dressed up in our spare long white dresses with full make-up and came onstage with us on Lilith Fair to perform the closing number with Sarah Maclaughlin." The band swelled to thirteen women at one time and now has settled on just seven voices, Katherine Blake (music director), Audrey Evans, Emily Ovenden, Marie Findley, Maple Bee, Cylindra, and Rebecca Dutton. The Baebes are all talented individuals, so the band makes time for everyone to develop personal projects.
Rachael, who left the band in 2004 to get married and have a baby, grew up in rock music. Her mother was a member of New Zealand band Ragnarock. For eight years Rachel Van Asch performed and served as costume designer for the Baebes. Rachael has also produced fashion clothes based on her costume designs under the labels Sacred Clothing and Van Asch. Now she is in the process of moving to Sweden where she will be opening a clothing store.
Audrey Evans has been with the band since the beginning but when she isn't performing she teaches in a nursery school. In November of 2005 she also gave birth to a son, Lewis, who is the love of her life.
Emily Ovenden is the daughter of famous English Ruralist artists Graham & Annie Ovenden but her talents are manifested in music and writing. She has written and published one book, Vulpes Vulpes, and has just finished her second novel, The Ice Room. Currently she is working on songs for an upcoming Celtic album.
Maple Bee, the dark haired mezzo soprano, joined the band in 2003. She spent her childhood on board a yacht, traveling the world and living in the Middle East. She has made two techno solo albums and just released a new dance album, Huski.
Mediaeval Baebes celebrated an important anniversary in May this year. Maple Bee tells, "the Baebes had their 10th anniversary party which involved lots of singing loudly in a pub called the Boogaloo on Highgate Hill, followed by lots of strange baebeish antics and fake champagne." In June, she says, they performed at "an amazing show in Cornwall inside a real life stalactite-ridden cave called Carnglaze Caverns - then on to the sunrise festival near Glastonbury.”
From: https://stores.renstore.com/art-and-music/mediaeval-baebes

Tardigrade Inferno - The Worst of Me

 #Tardigrade Inferno #avant-garde metal #alternative metal #dark cabaret #Russian #music video

Tardigrade Inferno is a young band, but already established in its niche. The team itself positions itself as a "metal big top" and focuses not only on music and funny lyrics, but also on appearance. While the band is on its first Russian tour, we got in touch with the musicians to get a little more information about their plans for the near future, new albums and personal philosophy.

Let's talk about personal branding. Do you have a personal brand, do you feel responsible for being a public figure? How do you position yourself to the public?

Yes, there is something similar. There is an image of some kind of leading circus or a teller of scary stories to children, and there is just us as people, and we maneuver somewhere in the middle so that there is both theatricality and sincerity. That is, on the one hand, we have an image with a certain amount of mystery that we protect, on the other hand, we are open to communication with fans.

Do you have some kind of self-censorship, so to speak?

No. That is, we discuss what and how to post and what to write, but this is more editing than self-censorship. We do not have some terrible undercover secrets that we hush up, there are no taboo topics that we really want to say something about but we are afraid that they will not understand us. There were no places in the songs that we would cut so as not to fall under someone's knife.

Do you get compared to other popular bands with female vocals? Do these comparisons offend you?

Of course they compare. We can't remember anything bad. If it was, then it is most likely a matter of taste. The very fact of comparison is not offensive.

Due to the fact that you don’t have a frontman, but a frontwoman, so to speak, there were no such stories when people told you “here is a woman’s place in the kitchen, where you climbed onto the stage”, “a girl should be cute, how can you be in such kind of speaking." Have you come across any stereotypes?

It slips in personal conversations, but very rarely, only if the person is not involved in this. It's a matter of life choice when it comes to a woman's career as a metal vocalist. There are career women; they are condemned by those people for whom such a lifestyle is unacceptable. Our circle of contacts is such that such questions and claims do not arise. Such reasoning is probably characteristic of the people who do not come into contact with such types of art, so our contacts end at the stage of “what kind of freaks are these anyway?” Although recently in VK Sasha was asked to explain a hairstyle.

Are you generally offended by comparisons with Western colleagues?

Offended - never. We may be perplexed when they say about us “you just took a bandname and licked everything like a carbon paper”, but it’s strange to be offended by this, and indeed to react in any way. And when they just compare, there is no negative at all. Even within the band we don't fully agree on who our music is more like.

Is it possible to say that you are trying to convey the serious through a joke in your work?

Partly. The song must first of all work on an emotional level, and if the lyrics are just 100 percent humorous jokes, then it will not be as effective as adding tragic notes or some idea. That is, all this is not based on the desire to say something important, but on the desire to write a good song. And if there is nothing in the song except the surface layer, then it is felt. And it turns out that "to convey something serious" is not an end in itself, but a practical necessity. Of course, not all of our songs are about something other than the immediate plot of the text (at least consciously), but without a periodic feeling that there is something behind the song, it seems to me that listening to music gets boring.

Do you have any strange fans or stories associated with them? Your colleagues often tell stories about fans who stalk them, give strange gifts, and compulsively write comments and letters on social networks.

You know, we have quite a lot of "weird" fans in a good way, which is quite logical, since we ourselves are strange, like our music. Often people come to our concerts in cool strange costumes. We haven't accumulated any stories yet, but now we are skating our first tour, getting to know the fans. There are guys who go to our concerts in different cities. They give us gifts. We were presented with drawings, paintings, last year one artist presented a large painting of Dasha. We still have not found a place on the repbaza where to hang it, but we will definitely hang it, we really like it. Once, guys from Tula came to our concert, brought a gingerbread, but the guards took it away and ate it. In social networks, some fans quite often write to Dasha, but so far there has not been any obsessive persecution.

Isn't it scary to be a musician in Russia?

It's scary to be in Russia. Being a musician in Russia is just as scary as being a musician in another country. Show business will chew you up and spit you out if you don't try, like any other business.

Translated from: http://metalkings.org/interviews/257

Heavy Temple - A Desert through the Trees

 #Heavy Temple #heavy metal #stoner metal #occult rock #doom metal #psychedelic metal #music video

Heavy Temple have been fighting the good fight since 2012, but they’ve kept the world waiting until 2021 for their debut album. Fortunately, it was well worth the wait: Lupi Amoris is a finely streamlined record crammed with awesome riffs, soaring vocals and memorable songwriting. Singer, songwriter, bass player and all round head honcho High Priestess Nighthawk was kind enough to take some time out to answer our questions.

Sadly, stage names seem to be on the wane these days so kudos to you for keeping the flag flying. Where did High Priestess Nighthawk come from and how do you decide on names for new members?

There’s a Tom Waits album called Nighthawks At The Diner, and I guess it just stuck with me. Every member gets to choose their own name. Unless they really don’t want to, in which we try to come up with something that reflects their personality. I structured it around the religious nomenclature system because I always wanted Heavy Temple to feel like rock and roll church, where you go to worship the riff.

Heavy Temple have gone through a plethora of different line-ups. Could you give us a potted history of the ins and outs of the band? How did the current line-up come together?

It’s certainly been a revolving door. People’s lives and priorities change, and I wanted a band with that flexibility so we could always keep playing and touring. When we started almost ten years ago, we were a three piece. Bearadactyl was kind of on loan and Rattlesnake moved to the west coast. Saint Columbidae joined on drums, and we were a two piece for a while. Then I found Tempest, or perhaps I should say she found me, and honestly, she really saved the band. Good drummers are like mythical creatures, and they’re always all in multiple bands, so I got very lucky. Then we added Barghest, who ended his tenure to work for NASA (hopefully making Heavy Temple the first band to have a member in space). Thunderhorse stepped in almost immediately, and that brings us to 2019. We were able to do a lot of touring, despite not having been able to record Lupi Amoris, which was intended to be tracked with the previous line-up. Parting ways was not easy, and it was a very hard decision to make. I don’t expect anyone to understand it, but I think we just had different expectations and creative goals. I knew that Paisley and The Baron were great musicians, so it was a no-brainer to ask them to join. Every iteration of Heavy Temple has shaped what we are right now, and as objectively as I can say so, this line-up is probably the closest to what I envisioned when I started.   

I absolutely loved Lupi Amoris. It touches on a wide range of musical genres but is really hard to pin down. How would you describe it?

I always laugh a bit at this question because I have a hard time describing it myself. I suppose I’d just call it heavy rock and roll. I think that Heavy Temple has always had a wide array of influences, but if I had to pin it down I guess psychedelic doom. We like kraut and classic rock, psych, stoner and sludge, desert rock, black metal. I think we’re just an amalgamation of those genres we like

One thing I particularly enjoyed was the interplay between the riffs and the vocals – you don’t just follow the riff melody like Ozzy did and I found the dynamics very striking. Could you talk us through the process of how a Heavy Temple song comes together?

I still struggle when writing vocal melodies because I’m also playing the bass, so generally they are last to develop. The composition and arrangement are the easiest parts for me, but I do like to nurture them and let them take their own shape. As for the vocals themselves, I like to let the music breathe a little, so I just sing when I feel it’s appropriate. What I do like about Ozzy is that he kind of does the same thing. Sing on the verse and chorus, then let the band take the reins. I’m very excited about writing the next album as a band. I’ve been the primary songwriter so I think creating collectively will lead to some sonic exploration for all of us.

Clearly a lot of thought went into the lyrics and artwork for the album. Could you tell us about the broader themes underlying them?

At its core, Lupi Amoris is a collection of love songs. I met my partner at a festival in the woods, and they were the one to show me the Angela Carter story. A couple tracks on the album pre-date our relationship, but this album as a concept didn’t start to take shape until maybe three years ago. Sometimes you meet someone, and it changes the whole trajectory of your life, so I wanted to write about that using the Carter’s story as a skeleton. My confidence, independence and autonomy are of great value to me, and there was something about the narrative that just spoke to me.

From: https://www.thesleepingshaman.com/interviews/heavy-temple/

Baskery - With Every Heartbeat

 #Baskery #folk rock #Americana #contemporary folk #alt-country #banjo punk #music video #Robyn cover #Swedish

No matter where they go in the world, people tell the sisters that they’ve never heard or seen anything like it, that their sound is completely unique and that they perform with what seems to be an inexhaustible energy. That’s Baskery’s aim, to never stop surprising. The music is not to be confused with country or bluegrass just because the instrumentation involves a double bass, a six string banjo and acoustic guitar. They use their instruments in an unconventional way to create their very own genres: banjo punk, rock-hop and Nordicana.
The three sisters can’t recall when or why they started playing, the music’s always just been there. “Performing live has become the most natural thing to us”. That’s where the high energy level on stage hails from, a pure and reckless love for the art of performing music. In their late teens the sisters joined forces with their dad, who for decades was a one man band playing old blues and country tunes for a living. “Playing with dad was the best education we could have wished for. Performing in rowdy pubs and bars gave us the backbone that carries us through every imaginable situation one may come across in the music biz. It’s doesn’t get much more real than that.” This foundation of classic roots music and Americana settled in their hearts, but also awoke the urge of breaking the rules of traditional music. Baskery is a band built on what three people can do together and it’s all about turning the music on its head, blending the straightforwardness of punk with the subtlety of singer/songwriting.
Their first album, “Fall Among Thieves” (2008) was recorded in Stockholm, co-produced by Lasse Martén (Pink, Peter, Bjorn and John, Kelly Clarkson). “New Friends” (2011) the follow up, the band refer to as the “gypsy album” since it was mainly tracked on the road in various hotel rooms and band apartments, then mixed in Berlin by Blackpete (Depeche Mode, Joe Jackson, Peter Fox). As a contrast to the first two albums which took several months to make, the third one “Little Wild Life” was recorded during ten days in an old dance studio converted to a recording studio in former east Berlin, co-produced by Matt Wignall (Cold War Kids, J. Roddy Walston). All three albums received great acclaim in the press and were released in numerous countries. The releases in combination with relentless touring have given the band a reputation as one of the music scene’s most noticeable live acts.
From: https://ridefestival.com/artists/baskery/

Procol Harum - Simple Sister - Beat-Club 1971

 #Procol Harum #psychedelic rock #progressive rock #art rock #proto-prog #1960s #1970s #music video

Procol Harum’s ‘Broken Barricades’ album starts, like ‘Home’ before it, with Robin Trower's guitar playing an unmistakable signature phrase. This angry eruption signals the start of the song that engineer John Punter called Pimple Blister, with its cruel, some would say misogynistic lyric. Like Whisky Train, this is an enormously popular song with live audiences, specially in the USA, and since it was written all Procol's guitarists – Trower, Ball, Grabham, Renwick and Whitehorn – have played it. The five-note opening rhythm, on a repeated note, even found its way unwittingly into Mick Grabham's final bars of Beyond the Pale.
On stage the song exists in two varieties, the mere three-verse one (a mere 3 minutes 17 seconds on the Beat Club recital of 27 November 1971), and the extended 'build-up' version, over a melodic bass-line midway. The longer version is far more dramatic – the same instinct for juxtaposing opposites resulted in the insertion of the quiet Bach Prelude into Repent Walpurgis, another thundering four-chord passacaglia. Strangely there are some fans who would prefer both songs in attenuated form. It's worth dilating on the origins of the central riff, which has borrowed the first five or six notes (and the sprightly rhythm) wholesale from the opening of The Capitols' 1966 Cool Jerk. But Procol do something more interesting than the Cool Jerk composers: they modulate the motif from C major up to E flat, then again to G minor and down again … it goes somewhere, rather than being just an R&B elaboration of the basic blues progression. The Cool Jerk riff starts out with bass, then adds 'some eighty-eights' (a particularly shoddy-sounding piano), then immediately the whole band, but Brooker's ensemble builds up minutely slowly, something added every time the refrain re-starts, constantly surprising the listener with melodic and rhythmic ideas, begging the question, 'how can this end'? Musically the arrangement (by Brooker, conducted by George Martin, who is not credited on the sleeve) may be one of the big anomalies in the Procol catalogue: most of their orchestral work draws on baroque or romantic European traditions, but here the layering also seems reminiscent of modern, minimalist composers like Reich and Glass. Other famous records use heavy repetition and progressive layering – for instance Hey Jude and I Want You (She's So Heavy) – but these cases have endings faded or cut, somehow leaving the effect unconsolidated in one's ear. We do hear such a throwaway technique on the Barricades album in the final minutes of the title track. But Simple Sister, like its antecedent Whaling Stories, offers remission from the build-up, finding a closure that offers emotional relief.
This unique build-up is finely structured. Bars 1 to 32 follow the Skip Softly chords, after which the guitar plays a more-or-less fixed melody over the Cool Jerk riff, heard for the first time. Bars 41 to 64 comprise another 'unit' of Skip Softly and Cool Jerk; then the guitar lets rip for an improvisation over the Skip Softly chords, running from bars 65 to 88 (at the end of which section we hear a cross-fade between two takes, using two different guitars). Bar 89 begins a Skip Softly sequence that delays its last chord, and the brief drum break at 97 begins the Cool Jerk section in earnest. Piano, bass and drums start it at 98; bar 106 adds one of the manic chattering sounds we now know to be Gary Brooker's piano, recorded while running the tape slow, and subsequently speeded up. Chris 'The Grouts' Michie describes this process in illuminating detail here: for a long time the source of this sound was a mystery, though Geoff Whitehorn's strummed guitar does a capable job of imitating it in live performance. One more piano note is added every eight bars until 146, by which time high 'chiming' notes are heard as well, and at 154 guitar and 'celli join the chattering fray, with some quiet brass. High melodic strings are added at 170, whooping brass at 178, and heavy Wagnerian brass at 186. Just when pop precedent primes us to expect a fade, the Skip Softly motif cuts in at 194, and one more verse is sung; 210 sees the speedy coda, (including a new chord!) and the long growling C minor sustain at 213 ends the song. Gary told the NME (5 June 1972) that this was 'Music from the 23rd century'.
The reversion, from the Cool Jerk section to the opening matter again, is done with a musical brutality entirely suited to the cruelty of the words. It’s a song of vitriol and abuse, continuing the Still There'll Be More vein of writing. Perhaps it was a deliberate irony, adapting the riff of a positive, life-enhancing dance tune to offset Keith Reid’s savage libretto. This piece portrays serial vindictiveness like Poor Mohammed does: but what disease merits such cruel treatment? Despite the problems of interpretation that it poses to the record-buyer, Gary told NME that the piece was 'Lyrically quite simple, but there's something very personal about it. A quick summary of a situation Keith ran into somewhere.'  From: https://www.procolharum.com/tn+sq/bb_tr_simpl.htm

Eve's Plum - Cherry Alive

 #Eve's Plum #Colleen Fitzpatrick #alternative rock #power pop #grunge #1990s

Eve's Plum was a rock band that originated in 1991 in New York City. They released two albums and various singles in the mid-1990s, before disbanding in 1998. Michael Kotch and his twin brother Ben Kotch had been looking to start a band and needed a singer and bassist. After Colleen Fitzpatrick met Michael while both were in school at New York University, she eventually became the group's singer; Fitzpatrick, who had studied dance previously, had recently had some success with a leading role in John Waters' 1988 film, Hairspray, which went on to become a cult classic. The band went through several bass players. The name "Eve's Plum" was derived from Eve Plumb, the actress who most notably portrayed Jan Brady on The Brady Bunch.
The group was signed to Sony Records in 1992, and in 1993, their debut album, "Envy", was released. Its first single (arguably its most popular) was "Blue", which had the good fortune to have its music video appear in an episode of Beavis and Butt-Head. Two additional singles were released from Envy, "Die Like Someone" and "I Want It All". After some difficulty locating the right bass player, Theo Mack joined the group. Another single, "Eye", appeared on the soundtrack to "Higher Learning".
The band's second album, "Cherry Alive", was released in 1995. While developing the album, the band recorded a cover version of "If I Can't Have You" which found its way onto a compilation album, "Spirit Of 73 Rock for Choice". Two singles were promoted from Cherry Alive, though not very well: "Wishing the Day Away" and "Jesus Loves You". Not successful commercially, the band did not receive further support from their label and were subsequently dropped. They performed for some time thereafter, but this was the beginning of the end. They recorded "Save a Prayer" for a Duran Duran tribute album in 1998, but the band was not really viable. Its members moved on to other projects. Fitzpatrick has had some success with solo albums under the name Vitamin C, as well as acting parts in several films.  From: https://www.last.fm/music/Eve%27s+Plum/+wiki

Planxty - 'P' Stands For Paddy, I Suppose

 #Planxty #Christy Moore #Andy Irvine #Irish folk #world music #Celtic folk #traditional #1970s

 Irish stalwarts Planxty begin Cold Blow and the Rainy Night -- their third record for Shanachie -- with a rousing version of the Scottish battlefield classic "Johnnie Cope." It's a fitting opening to a record that essentially rounded out their recording heyday as the members splintered off to form equally influential Celtic acts like the Bothy Band, Moving Hearts, and De Danann. Co-founder Dónal Lunny, despite contributing instrumentally to a few tracks and taking a seat in the production chair, left the group, allowing newest member Johnny Moynihan to take over bouzouki and -- along with Andy Irvine and Christy Moore -- vocal duties. The title track is one of the finest of their career, utilizing Liam O'Flynn's expert uillean pipes and the band's peerless harmonizing to a tee. Moore's gorgeous "Lakes of Pontchartrain" and Irvine's moving closer, "Green Fields of Canada," showcase the group's timeless mastery of balladry, a style that would greatly inform their later solo works. Cold Blow and the Rainy Night, along with The Well Below the Valley, and their legendary debut, are essential listening for those in love with, or merely intrigued with, the genre.  From: https://www.allmusic.com/album/cold-blow-and-the-rainy-night-mw0000206988

P Stands for Paddy / T Stands for Thomas

Planxty sang ‘P’ Stands for Paddy, I Suppose on their 1974 album Cold Blow and the Rainy Night. They noted: We first heard ‘P’ Stands for Paddy a long time ago from Joe Heaney but we didn't get the words until recently. These came from a recording of Colm Keene of Glinsk Co. Galway. The verses are a strange mixture as if made up from different songs and it has a fine air.

Lal and Norma Waterson sang T Stands for Thomas on the Watersons' 1975 album, For Pence and Spicy Ale, Norma Waterson sang it on the Holme Valley Tradition cassette Will's Barn, and Waterson/Carthy sang it live at the Beverley Folk Club in June 1992. A.L. Lloyd noted on the Watersons' original album: These B for Barney, P for Paddy, J for Jack songs are usually Irish in origin though common enough in the English countryside. Often the verses are just a string of floaters drifting in from other lyrical songs. So it is with this piece, which derives partly from a version collected by Cecil Sharp from a Gloucestershire gipsy, Kathleen Williams. Some of the verses are familiar from an As I Walked Out song sung to Vaughan Williams by an Essex woodcutter, Mr Broomfield. The verses about robbing the bird's nest recall The Verdant Braes of Skreen.

Peter and Barbara Snape sang T Stands for Thomas on their 2008 CD Take to the Green Fields. Barbara Snape noted: This particular version of the song is an Irish/English hybrid! I first heard it in Liverpool some time ago, sung by an Irish singer, Davy Brennan. Having never forgotten it, but never quite fully remembering it either, I have used the version published in The Wanton Seed to supplement the bits I had lost.

Niamh Boadle sang P Stands for Paddy in 2010 on her CD Wild Rose. She commented on this Irish traditional song: A conversation overheard and dwelt on to learn about love. Not a strictly orthodox method of teaching but there you go.

From: https://mainlynorfolk.info/watersons/songs/tstandsforthomas.html

Garbage - Thirteen

 #Garbage #alternative rock #electronic rock #industrial rock #trip-hop #industrial power pop #Alex Chilton cover

The name of the album was #1 Record, which was bitterly ironic, as it ended up selling under 10,000 copies upon its initial release in 1972. The name of the band, Big Star, also proved to be an unfortunate misnomer, because outside of critics and other musicians, they remained virtually anonymous during their brief time together. Despite all these negatives and contradictions, Big Star included on #1 Record one of the best ballads of the rock-and-roll era, the hauntingly yearning “Thirteen.” The title comes from the age of the narrator, and the song is one of the most accurate depictions of an era in life when the first pangs of romance arrive to simultaneously enthrall and torture.
On #1 Record, their debut album, Big Star wielded an impressive duo of singer-songwriters in the Memphis-raised pair Alex Chilton and Chris Bell. Chilton had already achieved chart success as a teenager with The Box Tops, displaying gritty vocals that were soulful beyond his years on a string of rhythm and blues-influenced singles. But when he joined up with Bell, a proponent of a combination of Byrdsy jangle and Beatles-y catchiness that would come to be known as power pop, Chilton changed his game. Bell and Chilton wanted to emulate the Lennon/McCartney formula as much as they could, so they shared credit on many of the songs on #1 Record even though there was in fact little writing collaboration between the two. “Thirteen,” for example, was entirely Chilton’s creation, and he also delivers the aching vocal that vacillates between hope and heartache and that many cover versions have tried to emulate but never quite matched.
“Thirteen” focuses on an age that is somewhat underrepresented in pop and rock music. Many have written songs about childhood, and, since rock and roll was born out of teenage rebellion, high school ages and upward are of course the focus of many a ditty. But Chilton finds that bittersweet spot in between when innocence still lingers but more complicated emotions start to work their way into the picture. Over tender acoustic guitars, Chilton begins with a question that thirteen-year-old boys have been asking thirteen-year-old girls for generations: “Won’t you let me walk you home from school?” “Won’ t you let me meet you at the pool?” he follows, again treading lightly so as not to scare her away. He eventually suggests a date at the dance on Friday; “And I’ll take you,” Chilton delicately sings, as if anything more forceful than a gentle plea will destroy his chances.
In the second verse, the narrator for the first time reveals an obstacle blocking the path to this girl for whom he is clearly falling hard, his modest queries notwithstanding. “Won’ t you tell your Dad get off my back?” he asks her. His response to the doubting father is brilliant: “Tell him what we said about ‘Paint It Black.’” By drawing a parallel between his own musical tastes and that of the father, he’s hoping to show that he’ s not just some punk kid with bad intentions, although doing that by name-dropping a song by The Rolling Stones, one of the most lascivious bands, might be defeating the purpose. And his next exhortation (“Come inside now, it’s okay/ And I’ll shake you”) shows that his intentions aren’t all that pure after all, the sexual hinting a gutty and honest move by Chilton.
The final verse finds him struggling as she remains both rigidly unknowable (“Won’t you tell me what you’re thinking of?”) and frustratingly proper (“Would you bean outlaw for my love?”) His concluding lines redeem him in terms of his integrity and honor, even as they suggest that he’s losing his opportunity with her in the process: “If it’s no then I can go / I won’t make you.” The final “Ooo-hoo” that Chilton utters is a real killer, tinged as it is with the sting of implied refusal.
From: https://americansongwriter.com/behind-the-song-thirteen-by-big-star/

Unveiling the new model of a machine that made its debut three years prior, alternative rock outfit Garbage polished the raw grind of their hazy first album with the sparkling digital sheen of 1998 sophomore effort Version 2.0. Emerging from the eerie trip-hop and bleak grunge of the critically acclaimed, multi-platinum Garbage, the quartet expanded their vision, going into overdrive with a futuristic sound that blended their inspirations both classic (the Beach Boys, the Beatles, and the Pretenders) and contemporary (Björk, Portishead, and the Prodigy). While Garbage retained the sleaze and effortless cool of their debut -- hinted on early tracks "As Heaven Is Wide" and "A Stroke of Luck" -- they infused Version 2.0 with deeper electronic layering, improved hooks, and an intimate lyrical focus courtesy of iconic vocalist Shirley Manson, who seized her place as the face and voice of the band with authority and confidence. On the propulsive "When I Grow Up" and the bittersweet "Special," Garbage took cues from '60s girl groups with "sha-la-la"s and stacked vocal harmonies, grounding them with a delivery inspired by Chrissie Hynde. Elsewhere, the hard techno edges of Curve and Björk cut through the frustrated "Dumb" and the lusty "Sleep Together," while Depeche Mode's Wild West years received tribute on the stomping "Wicked Ways." Beyond the blistering hit singles "I Think I'm Paranoid" and "Push It," Version 2.0 is also home to Garbage's most tender and heartbreaking moments, from the pensive "Medication" to the trip-hop-indebted "The Trick Is to Keep Breathing" and "You Look So Fine." Balanced and taut, Version 2.0 is a greatest-hits collection packaged as a regular album, not only a peak in Garbage's catalog, but one of the definitive releases of the late '90s.  From: https://www.allmusic.com/album/version-20-mw0000032128

Creedence Clearwater Revival - Effigy

 #Creedence Clearwater Revival #roots rock #blues rock #country rock #swamp rock #classic rock #1960s #1970s

"Effigy," written by Creedence Clearwater Revival frontman John Fogerty, is the last track on the Willy and the Poor Boys album. This was the fourth studio album released and the third platinum album for CCR, riding the peak of their popularity in 1969. This song is a good example of the "roots rock" style that CCR helped to pioneer. While Bob Dylan is largely credited with starting the roots movement in 1966, only a handful of bands followed that lead, while the rest turned to folk, blues, or psychedelia. CCR fits into the niche within the country-influenced roots rock genre in between The Byrds, Tom Petty, Lynyrd Skynyrd, the Eagles, and of course The Flying Burrito Brothers. By sticking to the basics while everybody else was jumping on the experimentation bandwagon, they could be progressive and anachronistic at the same time.
Another thing that set CCR apart was the tight cohesion of the band members. While other groups swapped members between each other like so many kids playing Red Rover, CCR remained their own little island of Fogerty, Fogerty, Clifford, and Cook, with the only change being when Tom Fogerty split in 1971, after which they were down to a trio. Furthermore, they had considerable influence for a band that was only releasing albums together five years!
CCR drummer Doug Clifford said that this is a political song through and through. "It's pointing the finger at the Nixon administration when they were crumbling," he explained in Bad Moon Rising: The Unofficial History of Creedence Clearwater Revivial. "The dark period, if you will." An effigy is a model of an actual person that is made for the purpose of being destroyed as an act of protest or expression of anger. The "palace lawn" is referring to the lawn of the White House. In Fortunate Son: My Life, My Music, Fogerty affirms Nixon as the inspiration for his song, calling the former president "a schmuck." The specific event that triggered Fogerty to write the song happened October 15, 1969, when millions of people marched around the world to protest the Vietnam War. Nixon completely dismissed the event. As Fogerty remembers it, the former president said, "Nothing you do here today will have any effect on me. I'm going back inside to watch the football game." That dismissive attitude enraged Fogerty at the time and, judging from the writing in Fortunate Son, enrages him still.
From: https://www.songfacts.com/facts/creedence-clearwater-revival/effigy

KidneyThieves - In Love With a Machine

 #KidneyThieves #industrial rock #trip-hop #industrial metal #alternative/indie rock

KidneyThieves started in 1997, the union of two talented musicians: Free Dominguez (vocalist and occasional guitar) and Bruce Somers (multi-instrumentalist, programmer and sound engineer). Somers with his background of programming/engineering and collaborating with several notable bands such as Nine Inch Nails, Orgy, The Misfits and Marilyn Manson; Dominiguez bringing a trip-hop/hip-hop affinity, along with a sensual, melodious voice – a marriage of Nine Inch Nails-inspired industrial rock and trip-hop along the lines of Massive Attack. In Somer's words, the band is a combination of heavy and light to form a sound that is not quite one genre altogether and yet it stands on its own. Confused? Most are when they first listen to any of their music; one moment you will be listening to a decent noisy guitar riff with industrial layers, the next you will be listening to a whispered trip-hop track concerning forlorn thoughts — the muscles of grinding rock formed around the soul of downtempo.
Their latest album, ‘The Mend', is the conclusive result of their Kickstarter campaign launched in December 2015; by April 2016 they had reached their goal (it reached nearly double the initial goal) and the album was released in September of the same year. This approach is typical of KidneyThieves' ethics of DIY and being progressively eco-friendly (the album was recorded in a “green studio” and independently released). ‘The Mend' is a concept album revolving around the contemporary issues that were most prominent during 2015 and 2016 – the division and disconnection, the corrosion, the escalation of hate and general distrust – topics most directly reflected in track titles such as “Fist Up”, “In Love With A Machine” and “Let Freedom Ring”. The album also focuses on the notion of catharsis through healing and becoming whole again after a major upheaval, the systems we find ourselves locked into and finding a grand mending through each other via compassion and realising the worth of our struggles.
KidneyThieves are unique in that they prove that whilst industrial rock tends to be synonymous with nihilistic tendencies and self-destruction, KidneyThieves show more depth with a philosophical edge by focusing on abstract thoughts and psychological subjects, borrowing from Jung. They also demonstrate a range of skill by not getting too comfortable playing to one genre. The whole of ‘The Mend‘ presents itself as the next step in the band’s continuing journey with a message of hope. The noticeable absence of certain elements (such as the heavier guitars and more polish given to tracks) might make long-time fans reluctant but this is an album that remains a worthwhile listen. In the end this is what music ultimately means for us all: a form of sublime, unconditional catharsis.  From: https://nevermore-horror.com/kidneythieves-the-mend-2016-review/

Queen - Live At The Rainbow 1974

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#Queen #Freddie Mercury #Brian May #Roger Taylor #hard rock #glam rock #progressive rock #heavy metal #classic rock #1970s #live music video

Truly great stage presence is a rare gift for any band. Sure, some acts can get away with just standing around and playing their hits, but a really amazing concert experience requires that little extra something -- that indefinable spark of charisma and electric personality. That ability to reach out into the crowd and command an audience, fully connecting with every single fan no matter how large the venue is. Led by the unique musical charms of Freddie Mercury, Queen had that singular talent, turning every one of their performances into something special, and 'Live at the Rainbow '74' is no different. Featuring the band after the release of their first three albums, the show captures the group at the cusp of super stardom, revealing their early penchant for kinetic showmanship.
Filmed over two nights at the Rainbow Theater in North London in November 1974, the concert spotlights the band during their "Sheer Heart Attack Tour." The lineup consists of Brian May on lead guitar, John Deacon on bass, Roger Taylor on drums, and Freddie Mercury as the lead vocalist and pianist. Primarily made up of tracks from the group's first three albums, the songs carry a distinct mixture of styles, blending hard rock and progressive rock sensibilities with a more melodic and occasionally even operatic quality. With that said, these earlier records don't quite carry the same pop friendly stadium rock style that the band's later anthem hits ("We Will Rock You," "We Are the Champions") would become famous for.
After a brief intro following the band into the Rainbow Room, we quickly segue straight into the show. Opening with a rousing rendition of "Now I'm Here," we start in darkness only to have the lights kick on and off during key beats before finally bathing the stage in a warm glow as the band really kicks it into high gear. From there, we're treated to an energetic and varied view of the show, complete with close-ups, wide-shots, zooms, and frequent dissolves. Likewise, the lighting design keeps things interesting, washing the screen in moody oranges, greens, and blues, nicely complementing the tempos of each song. And what would a rock show be without smoke? Well, I'm not sure, but fret not! We get plenty of atmospheric fog.
Of course, Freddie Mercury is not one to be up-staged by mere lights and camera angles, and the legendary front-man commands the spotlight. First decked out in all white and then sporting a black ensemble complete with diamond claws (apparently a gift from the devil himself), the only thing louder than the singer's costume choices, is his voice. And wow, what a voice it is. With incredible range and seemingly effortless poise, Mercury carries us through the set-list without skipping a beat, infusing each note with deep emotion and charm. Likewise, the musician will playfully address the audience in between tracks to introduce new songs, maintaining a fun and intimate rapport with his fans. The rest of the band also get their moments to shine keeping things from becoming a one-man show, and we're treated to some fantastic drum and guitar solos as well.
Highlights include spirited performances of "Killer Queen" and "Keep Yourself Alive," and the band's climactic take on "In the Lap of the Gods… Revisited" is simply riveting. Really, there are no missteps throughout the entire production and each song is fully realized. Together, Mercury, May, Taylor, and Deacon create a truly engaging concert experience, using a little bit of rock star flash to enhance but not overpower their music. Instead, everything flows together perfectly, and each band member is firing on all cylinders, bringing the group's unique sound to life with a dynamic spark.  From: https://bluray.highdefdigest.com/12753/queenliveattherainbow74.html