The Dresden Dolls - Live at The Roundhouse, London 2006

The Dresden Dolls - Live at The Roundhouse, London  2006 - Part 1

The Dresden Dolls - Live at The Roundhouse, London  2006 - Part 2

The Dresden Dolls - Live at The Roundhouse, London  2006 - Part 3

The Roundhouse in London was one of the most happening places to be in the 60’s & 70’s as they hosted many well known acts such as the Who, the Stones, Bowie, Hendrix, Pink Floyd, the Doors, Kraftwerk, & the Ramones as well as all forms of nude performance art & avant theater. The Roundhouse closed its doors in the 80’s but reopened in 2006.On November 3rd & 4th of 2006 the Dresden Dolls brought their “Punk Cabaret” show to the Roundhouse & recorded both nights for this DVD release.
The DVD is theatrical, amazing, and intense from the introduction by comedian Margaret Cho all the way through the closing song “Delilah” which lead singer/keyboardist Amanda Palmer sings an amazing & strange duet with new wave icon Lene Lovich. The Dresden Dolls are a duo featuring Amanda Palmer & one of the hardest hitting drummers I’ve ever seen, Brian Viglione. The opening number “Sex Changes” grabs the viewer immediately as Palmer(wearing whiteface, a faded old black “Who” t-shirt, a garter belt with black & white striped stockings & combat boots has the fans singing along shouting ”They always said that sex would change you! ”.The duo launches into “Gravity” from their s/t album and 3 girls appear on the stage. One girl is dressed in black & white stripes, climbs a curtain hanging from the center of the stage & performs some upside down acrobatics while the 2 other girls who are dressed in garters and stockings dance to the demonic rhythm of the song. I could probably write a 4 page review on the performance because there is so much going on during the show but I’ll just stick to the highlights which includes an incredible performance of “Backstabber” from their ‘Yes,Virginia’ CD. ”Coin Operated Boy” has the whole audience singing along with Palmer as she sings about her plastic fantasy. ”Mandy Goes to Med School” features 2 females dressed as pregnant schoolgirls skipping out to the front of the stage and hitting each other in the stomach with hammers. The 2 girls then hold hands and kneel in front of the duo and watch Palmer & Viglione present an intense musical exchange of drums and keyboards. The Dolls launch right into a fast paced punk tune titled “Lonesome Organist Rapes Page Turner”. The tempo is brought down as they perform “Slide” which features a few music box dancers in the center of the crowd. The stage filled with all the performers dressed in various styles and costumes as well as a few girls dressed in bondage while tied to chairs as the band performed “The Jeep Song”. The crowd all waved Sparklers in the air as the group performed their 2006 single “Sing” before leaving the stage for the first time. For the encore Brian came out with his acoustic guitar as Amanda danced around and sang “Mein Herr” from the musical ‘Cabaret’ & ended the song by crowd surfing. Australian under ground band, the Red Paintings’ singer Trash McSweeny performed a duet of “Mad World” and the set ends with the Dresden Dolls revved up psychotic single “Girl Anachronism”.
Bonus features documentary & 2 extra songs: The first is “Missed Me” which probably could’ve fit in nicely on Pink Floyd’s ‘The Wall’. ”Missed Me” is another duet with Palmer singing with Edward Ka Spel (lead singer of the Pink Dots) which is followed by “Delilah” featuring Lene Lovich. Overall this is an entertaining and intense performance with something going on all the time. Palmer says in the liner notes that for every performer you see on the DVD there are a dozen more that don’t make it onto the camera.  From: https://www.classicrockforums.com/threads/dresden-dolls-live-at-the-roundhouse.6663/

The Grip Weeds - The Inner Light (Beatles/George Harrison cover)

The Grip Weeds are a powerhouse pop-psyche band extraordinaire who write insanely gripping melodic nuggets- a gorgeous alchemy of the 60’s and 70’s brought into the 21st century, with ripping guitars, powerful drumming, and golden harmonies. The Powerpopaholic interviewed both lead guitar Kristin Pinell and band leader, Kurt Reil.

Kristin – What made you first want to pick up a guitar and start playing? How did you end up hooking up with Michael Mazzarella and The Rooks prior to joining the Grip Weeds?


KP: I was a music fan since I can remember (about three years old). I had older brothers and sisters who were always playing music. I would sneak into their rooms after school and play their Beatles, Monkees and Byrds records over and over for hours. At twelve, I picked up a friend’s guitar and started to figure out how to play stuff, pulling parts off records and going to shows.  I really got into Jimmy Page- He had a great sense of melody mixed in with this power and raw energy- It made an impression on me as a shy teenager. Years later I met Michael from the Rooks when we both were gigging around Hartford, CT. We would do shows together and hang out. He turned me on to a lot of cool music back then.  I loved the songs he was writing and figured we should form a band. At some point later on we both found ourselves living in NYC and I think originally he had asked some of The Grip Weeds to back him up on a few recordings. I wasn’t in The Grip Weeds yet…but it was all one big scene back then and one thing led to another.

Kurt – Did you play in any other bands prior to The Grip Weeds? How 
did it all begin for you and Rick in Jersey?


KR: Any bands we were in before The Grip Weeds really don’t matter, because none of them  were any good or worth writing about! My Brother Rick and I started playing together as kids, once Rick put the drums down and picked up the guitar, as we were both drummers up to that point. The Grip Weeds formed gradually from there as we searched for our sound. When Rick and I started the group, we were at Rutgers University in New Brunswick, and just wanted to play cool obscure sixties covers from The Who and The Hollies. Eventually, we started writing our own songs and slipped them one by one into our live shows, hoping they would work alongside these great old songs. Our songwriting improved to the point where we wound up with a totally original live set, which we then recorded- that eventually started a whole other career of music production! 

Kurt – How did the relationship with Kristin get started and how 
has it grown over the years?


KR:  We met through playing in the New York City Pop Scene of the nineties- actually, it was at a Smithereens show! I was a young drummer and she was a beautiful guitarist who I thought was way out of my league! But we hit it off in the best way and eventually she joined The Grip Weeds and we got married. We have a dual musical and real-life relationship; sometimes, we’ll be fighting in the studio and go upstairs for dinner and be getting along great! To me, it’s important to maintain that division so that we can have our personal life outside the band and studio, which tends to take over everything.

Kristin – Have you experienced any big challenges in being a female 
lead guitarist for the band?


KP: I wish I had more female role models. I didn’t realize I was such a misfit. I always tried to find other female musicians to form a band with but it was difficult to find the level of dedication and musicianship there.  I did have an all female group for several years when I lived in Boston. We were very driven and I really got my chops playing with them.The biggest challenge is that it’s very physically demanding playing shows and touring. It’s a constant struggle to keep myself healthy and balanced. It ain’t easy. Most women at my age are doing other very important things like raising children and keeping families running.  I have very few female musician friends who go through what I go through.

Kurt – Now that the re-issue of House of Vibes is done, Any plans 
for new material?


KR: We started a new album last year, and were originally going to work on both, but the reissue was difficult to put together and took a lot of time and effort, so we had to stop work on the new one. If we didn’t, House of Vibes Revisited wouldn’t have come out for another year! Also, we’re recording additional tracks for an upcoming "best of" compilation on Little Steven’s label Wicked Cool, and we recently recorded and videotaped a "live in the studio" performance, which will see the light soon as well. Once all this is done, and we’ve adequately promoted HOVRE, we’ll get back to our new stuff. Rick and I are still writing new songs all the time- I have written several this year that we’ll want to record. For once, we have much more material than we can release! But I am very excited- I think this next one will be our best album ever.

Both of you – Is touring in support of House of Vibes still fun? Or 
is it a pain in the butt and you can’t wait to get in the studio?


KP: This summer we played some festivals but right now we are focusing on building the band through our web presence, press and radio. We always love playing live shows but we definitely have a great recording situation right in our house.  Recently Little Steven and his label have taken us under their wing and that may open up the doors to more live work.  Our goal is to get our music out to the most people we can and doing a lot of shows without the right promotion and support doesn’t help us.  Most of our last shows were put on with the help of our record label, Rainbow Quartz.

KR: I love to play and miss it terribly when we’re not, and even though touring is hard I enjoy it. But that said I’m very into getting back into the studio to continue working on our next album, which was started last year and interrupted. We’ll probably do some local shows and then get back to work in the studio this Winter.

Kurt – Any regrets not being on a major label? Or do you feel that 
the smaller labels work harder for you as band?


KR: No- The reality is that major labels don’t nurture artists anymore. If you don’t produce sales right away, you’re out. And now major labels are seen as dinosaurs, as they haven’t yet figured out how to survive in the modern world of digital downloadable music, which is threatening to destroy them. We are in a good place as we’re able to make the music we want to when we want to. Still, it takes a lot of money and effort to promote music, and we’ve been very lucky to have had Rainbow Quartz getting our name and music out there.

From: https://www.powerpopaholic.com/artist-interviews/the-grip-weeds

Sarah Mclachlan & Paula Cole - Elsewhere (Live)

Four years before she founded Lilith Fair—a traveling music festival which prioritized the work of and the collaboration between women musicians—and just before she broke into the upper regions of the American charts with “Building a Mystery,” Sarah McLachlan was alone in the Canadian woods. In order to write and record her third album, 1993’s Fumbling Towards Ecstasy, the Nova Scotian singer-songwriter isolated herself and her two cats in a cabin located in the mountains of southern Quebec. She felt incapable of writing anything for the first three months, faintly aware of something stirring inside her which routinely failed to assemble into words or songs. It was cold. Snow had accumulated on the windows of the cabin in thick columns, and the temperature sank into the negative 30s. Outside were mammoth rock formations and woods and ice and an empty dark that invaded them at night. She felt small and alone.
McLachlan had grown self-conscious about her previous two albums, considering them either too amateurish or rigid in their writing and production. Her debut, Touch, consisted of the first songs she’d ever written; in lieu of any personal experience, she adapted her lyrics largely from the material of her dreams. Her second album, Solace, expressed a confusion and displacement she associated very specifically with her early twenties, a “mourning of [her] lost innocence,” as she told Hot Press in 1994. So she settled herself within the vastness of the mountains of Quebec longing for a kind of self-annihilating perspective—to get close to herself by getting as far away from her life as possible.
In the year before she situated herself in the wilderness, McLachlan had found herself stalked by two of her fans. They followed her from show to show and wrote her letters that progressively warped into disturbing exposures of their inner psyches. One of them moved to Vancouver, where McLachlan lived at the time, and routinely materialized in her neighborhood. “There were instances like running into them a couple of blocks from my house, and saying they’d been there for a couple of days,” she told the Toronto Star in 1993. “It was pretty scary. I stopped answering my mail a long time ago. I had my best friend answering it for a while, and then she had nightmares so she’s not doing it anymore, either.” A court issued a restraining order against the fan, but McLachlan was considerably shaken by the experience. She started looking over her shoulder whenever she left her house, checking her periphery for any menacing, incoming blurs.
While writing the album, McLachlan kept a small journal. Every morning she’d fill three pages of it with free association, circular thoughts about coffee that would barely solidify in her head before disintegrating, but which, halfway through her second page, would evolve into a kind of accidental introspection. She would play Tom Waits records, and she would focus on the slow redistribution of detail on one of her favorite albums, Talk Talk’s Spirit of Eden. On that record, Mark Hollis, the principal member of Talk Talk, abandoned his band’s synth-pop aesthetic and stretched his new compositions out like canvas, applying his voice to them in minimal, liquid strokes that interrupted and gave shape to the yards of silence that surrounded it.
Then spring arrived. The snow evaporated and McLachlan discovered that a river, recently thawed, flowed just behind her cabin. Small blooms unfolded on branches of the trees outside. “The whole world just blew up like I’ve never seen it before,” she said. “Everything became so amplified.” She started writing songs again, and would now routinely walk the two miles from her cabin to the studio with whatever ideas she had gathered over the course of the day. Whether it was a fully-formed song or a flicker of an idea, she and her producer, Pierre Marchand, would add musical ornaments—the scattered pulse of a drum machine, a few pale shimmers of electric guitar—until they sounded like whatever it was that Sarah McLachlan songs were beginning to sound like. The songs were located somewhere between the suggestive adult contemporary gloss of her previous albums and something as boundless and figural as Spirit of Eden, a vast stone temple in which her sourceless voice echoes and decays.
This is the image that Fumbling’s first song and lead single, “Possession,” places in my head, or rather it’s the painterly details of its sound design that submerge my head in that colossal space. “Listen as the wind blows/From across the great divide,” McLachlan sings, her voice drowsy, delayed, unraveling at the same pace as a pale ribbon of smoke, “Voices trapped in yearning/Memories trapped in time.” McLachlan wrote “Possession” about her stalker; the song actually takes place in the tortured, pressurized depths of his perspective. The lyrics reproduce the rhetorical and metaphysical somersaults that appear in devotional religious texts; the narrator of “Possession” conceives of his own desire as an empty tomb where he sits and yearns, consumed by an ancient longing.
For McLachlan, inhabiting this perspective was a way for her to convert her trauma into a kind of investigation of the often porous border between desire and obsession. (Her stalker attempted to sue her for harvesting the details of the song from the content of his letters; before the suit could ascend into any court, he killed himself.) The question that animates “Possession” is the question that animates the majority of her work since, most visible in songs like “Sweet Surrender” and “I Love You”: Why does falling in love feel like lightning forking through the body?  From: https://pitchfork.com/reviews/albums/sarah-mclachlan-fumbling-towards-ecstasy/

R.E.M. - The One I Love

Song of the Week: The One I Love. The song begins with a simple but energetic drum intro by Bill that launches into Peter’s electric riff that to me, makes the whole song. The riff is fairly simple but it’s perfect to me by how catchy it is, and how well it sets up a mood. The riff begins with a couple plucks of the low E string to accent the Em chord in the verse, before it goes to a more melodic part on the B and big E strings. It’s a simple riff because a lot of the notes are just open strings but yet it’s able to create a dark and yet catchy melody that fits perfectly for the rest of the instrumentation and lyrics. And when you get to the verse, you get those wonderful patent pending Peter arpeggios.
Now it’s important to note that this song’s structure is interesting as I know everyone is aware. You have an intro, and then a fair short verse, a pre chorus, a chorus (that only contains backing vocals and Michael yelling “fire!”) and then it just repeats other than a short solo. The lyrics in every verse, pre chorus and chorus, are all almost the same minus a small change in the last pre chorus. I think it’s the simplicity of the structure and lyrics though that makes this song so powerful.
When you hear the verse “this one goes out to the one I love, this one goes out to the one I’ve left behind” you might think this is a love song. Mainly because he sings “the one I love” which is not past tense even though he’s had to leave them behind for some reason. But when we get to the pre chorus, things don’t seem so lovey dovey anymore. “A simple prop to occupy my time” seems like he’s using something to keep himself busy and I think he’s using people to “occupy” his time.
Michael is usually one to leave his songs open to interpretation, but in a interview with Rolling Stone he did say that the song is “incredible violent” and that “It's very clear that it's about using people over and over again". Which makes sense because in the last pre chorus he changes “a simple prop” to “another prop” which I think shows that using people has become a habit or ritual for him. The “prop” is a person and where he actually truly loves them or not is up for debate. What I do know is that I love Mike’s bass playing in the chorus. It’s a fantastic bass melody but it’s not mixed too high in the song where it takes away from the melody or guitar playing.
I’m curious what you guys think “fire!” in the chorus is suppose to represent. Because other than Mike’s backing vocals of “She's coming down on her own now / Coming down on her own" it’s only Michael yelling fire. Either way it’s catchy as hell and I love how it shows off Michael’s vocal abilities. Sure, he sounds great when he’s using his lower register and being reserved, but when his really goes for the high and louder register, it honestly gives me goosebumps.
I also don’t want to forget about Peter’s little solo in the middle of the song. Much like Peter’s playing, it’s not flashy or in your face, but it fits the song so well. It’s one of my favorite parts of the song because how great that melody is. We also can’t forget about Bill’s drumming because not only does it drive the song, but his fills are top notch and help give the song its energy. The song had a music video made for it and as some of you might remember, the director of photography for it was Alton Brown who later went on to host the show Good Eats on the Food Network channel. It was a video that saw heavy rotation on MTV and helped with the popularity of the song.
The song was also a live staple for the band and was definitely a crowd favorite. I especially love the live versions just because you can hear Mike’s backing vocals more clearly in the live version. I didn’t even know he had backing vocals on the song for the longest time because it’s mixed so quietly on the studio version. But live you can really hear them and just like all of Mike’s backing vocals, it includes a great melody and is the glue to Michael’s vocals.  From: https://www.reddit.com/r/rem/comments/s5eqfy/song_of_the_week_the_one_i_love/

Daisy House - Ready To Go

Just stepped out the Tardis, back from a quick trip to San Francisco circa 1967 and I could swear I heard Daisy House blasting out of some greasy spoon on the Castro. They’re that authentic. Welcome to Daisy House. If you love Joni Mitchell, the Mamas and Papas, the Byrds, Buffalo Springfield, or Crosby, Stills, Nash and Young, then you are going to want to stay awhile. I went to their bandcamp site to download just a few choice cuts but ended up buying it all – they’re that good. It’s not just that they emote a particularly addictive blend of 1960s folk rock + killer harmony vocals, the songwriting is also first class. Daisy House are a father and daughter duo, Doug and Tatiana Hammond, with dad writing and playing on nearly all the songs while both provide vocals. Over four albums, they have developed their clear influences into an impressive body of work.
The debut is simply 2013’s Daisy House. The basic formula is here: twelve string acoustic and electric guitars, a celtic twist in the songwriting, with vocals reminiscent of Joni Mitchell (on “Ready to Go” and “Cold Ships”), the Mamas and Papas (on “Two Sisters”), and Richard and Linda Thompson (on “The Bottle’s Red”). The Byrdsian influence is particularly strong with dad’s vocal on “Statue Maker.” 2014’s Beaus and Arrows reproduces the ambience of the debut, with a few new surprises, like a very early solo Paul Simon atmosphere on the Salinger-inspired “Raise the Roof Beam Carpenter.” I agree with Don over at I Don’t Hear a Single, the first two albums draw heavily on 1960s British and American folk idioms.  From: https://poprockrecord.com/2017/06/28/welcome-to-daisy-house/

The John Renbourn Group - Belle Qui Tiens Ma Vie/Tourdion

German record label MiG music have come up with a real find here: a live recording of The John Renbourn Group from a show in Roemer, Bremen (Germany) on 14th February 1978.  The recording was made and broadcast by the local station, Radio Bremen, before promptly fading from public memory and awareness.  MiG music deserves real thanks for unearthing the tapes and issuing this live recording because it’s a real gem; not only a fascinating time capsule for the legions of Pentangle and John Renbourn devotees, this is also an album that provides an excellent introduction to those keen to discover what all the fuss is about.
Let’s first have a look at the line up of the John Renbourn Band that evening 43 years ago: along with Pentangle’s vocalist Jacqui McShee, John was joined by Tony Roberts on flutes, Keshav Sathe on tabla and, from the French prog/folk/rock outfit Mormos, Sandy Spencer on cello.  The sound they made was awesome and, on this recording, it’s preserved in all the crystal clarity that those lucky enough to have been present will have enjoyed at the actual show.
And what’s more, the choice of material was inspired!  To a large degree, the setlist is structured around selections from the John Renbourn Group’s then current album, A Maid In Bedlam with a liberal sprinkling of Pentangle standards added for good measure; the setlist really couldn’t have been better planned even if John et al knew that the recording was going to be submerged and would only resurface some 40-odd years into the future!
Back in 1978, Pentangle was, of course, in suspended animation, following the departure of Bert Jansch some five years earlier.  After the Pentangle split, John Renbourn continued to work with Jacqui as a duo, but both agreed that they missed the fuller sound and opportunities for experimentation that a group could provide, and The John Renbourn Group was born.  The band’s first album, the aforementioned A Maid in Bedlam was released in 1977 and was followed by further releases The Enchanted Garden (1980) and Live in America (1982).  By the time of that February 1978 gig, the band was cooking, with a repertoire that included the full range of John’s extensive musical interests, from straight traditional folk, via early music and medieval rounds, through jazz, Americana and country to authentic delta blues.  And it’s all preserved here on this tremendous album.
And yet despite the familiarity of the source material, the band’s sound is unique.  John’s intricate guitar passages mesh delightfully with Tony’s flute and Keshav’s tabla, Sandy’s cello provides a marvelous finishing touch and Jacqui’s vocals are exquisite throughout – as good as I’ve ever heard them – and the overall impact is a beautiful blend of western music styles with a distinct flavouring of the Indian subcontinent.
The whole album has a wonderful continuity too.  This is one of those live albums that make you feel that the band are there in the room with you, and in these COVID-riven times, that’s a real bonus.  Jacqui’s and John’s introductions are lucid and add to the intimacy of the show and I strongly suggest that the way to listen to this album is to draw the curtains, jack up the volume, pour yourself a large drink and settle down to enjoy a wonderfully entertaining concert.
The standard is set by the concert’s opener, I Am A Maid That’s Deep In Love, a Pentangle number from their 1970 Cruel Sister album where Jacqui’s voice and that eclectic mix of instruments let you know exactly what is to be served up over the next hour or so.  There’s more of the same on Death and the Lady, the first of five featured songs from the A Maid In Bedlam album, before Jacqui takes centre stage for the stunningly beautiful A Capella Westron Wynd.  Seasoned Pentanglers will be familiar with the bluesy rag Sweet Potato, a fast, furious piece that reminds us just how excellent a guitarist John Renbourn really was and which also provides room for Tony and Sandy to stretch out on their respective instruments.
Traffic, Steeleye and Fairport are just three of the acts that have tackled the broadside ballad John Barleycorn, each time with a different approach.  On A Maid In Bremen, The John Renbourn Band strip the song back to its medieval origins and present it as a round with John, Jacqui and Tony all taking a vocal part.  Snatches of the medieval dance tune La Rotta are incorporated into the song to emphasise and enhance the medieval feel.
In keeping with the eclectic theme, the medieval drinking song is followed by Turn Your Money Green, a 1920’s Furry Lewis blues with excellent harmony singing from John and Jacqui.  Some nice flute from Tony complements the always excellent guitar work and the song achieves an authentic 20s feel.  After the blues interlude, we’re back to traditional folk with My Johnny Was A Shoemaker, a song from the A Maid in Bedlam album that sounds clean and pure and is set alight by the interaction between the flute and tabla.  And if that’s not enough variety, To Glastonbury can only be described as a chunk of medieval jazz, a delicious mix that is brought to a conclusion by a sublime tabla solo from Keshav.
We stick with the medieval theme for Gypsy Dance/Jew’s Dance Neusedler Melody, before returning to trad folk with The Maid on the Shore, an intriguing story, beautifully sung by Jacqui, and A Maid in Bedlam, the title track from the recent album.  Sidi Brahim is a frantic raga which, on the day of the concert was so early in its gestation that it hadn’t even been given its name.  It’s a wonderful mélange of raga guitar, soaring flute, dependable tabla and odd time signatures and it was to be given full justice on the band’s next album, The Enchanted Garden.
Jacqui introduces Cruel Sister as the show’s last number and then goes on to exceed even her own monumental standards with a fantastic vocal delivery.  The song, the band and the set get the fulsome applause they deserve before they are brought back for two encores, the first an authentic adaptation of Mississippi Fred MacDowell’s Kokomo Blues and, to finally bring the whole thing to a close, a great version of Willy O’ Winsbury.  From: https://atthebarrier.com/2021/02/24/the-john-renbourn-group-a-maid-in-bremen-album-review/

Twin Temple - Let's Have A Satanic Orgy

To celebrate the fact they're back on the road right now in the U.S. with Ghost and Volbeat, Twin Temple have just released a bewitching new double-single: Let’s Have A Satanic Orgy and Tengamos La Orgía Satánica. The first is an English-speaking version while the latter is a reworked Spanish rendition, with Alexandra explaining of the decision to do both: “We love Latin music. It’s an integral part of early Doo-Wop and a huge influence on us. This latest single is us continuing to explore that concept and sound in our own blasphemous way, of course. We chose to have a flip cover for the 7” as opposed to having an A-side and B-side so that the Spanish and English versions are equal. They’ll be released simultaneously as well, to reflect that equality.”
Zachary adds of how it was all made: “Unlike the 24-hour live session with the band this time we played every instrument ourselves – other than the saxophone – as well as produced, engineered and mixed the record ourselves. We still kept everything analogue and one take to give it a raw feel, but it was just the two of us in the studio together doing everything. It allowed us to expand the sounds and gave us the freedom to add more instrumentation. We always like to stir the cauldron and change things up, and we were excited about challenging ourselves in this evil new way.”  From: https://www.kerrang.com/listen-twin-temple-have-released-a-bewitching-new-single-lets-have-a-satanic-orgy

The Beatles - It's All Too Much

Written while under the influence of LSD, ‘It’s All Too Much’ was the second song by George Harrison to feature on the Yellow Submarine soundtrack.

“It’s All Too Much’ was written in a childlike manner from realizations that appeared during and after some LSD experiences and which were later confirmed in meditation.”

Based on a droning G chord, ‘It’s All Too Much’ transposed the continuing influence of Indian music onto a psychedelic setting. The lyrics combined the cosmic philosophy favoured by Harrison with some nursery rhyme-style whimsy.

It’s all too much for me to take
The love that’s shining all around here
All the world’s a birthday cake,
So take a piece but not too much
Sail me on a silver sun, for I know that I’m free
Show me that I’m everywhere, and get me home for tea

‘It’s All Too Much’ contained a couplet from The Merseys’ 1966 hit single ‘Sorrow’: “With your long blonde hair and your eyes of blue”. The trumpeters, meanwhile, performed a motif from Jeremiah Clarke’s ‘Prince of Denmark’s March’, also known as ‘Trumpet Voluntary’.

“I just wanted to write a rock ‘n’ roll song about the whole psychedelic thing of the time. Because you’d trip out, you see, on all this stuff, and then whoops! you’d just be back having your evening cup of tea! ‘Your long blond hair and your eyes of blue’ – that was all just this big ending we had, going out. And as it was in those days, we had the horn players just play a bit of trumpet voluntarily, and so that’s how that ‘Prince of Denmark’ bit was played. And Paul and John just came up with and sang that lyric of ‘your eyes of blue’.”

The version used on the film soundtrack was 6’28” long. An eight-minute mix, meanwhile, has appeared on Beatles bootlegs, and contains a verse which also featured in the Yellow Submarine film.

Nice to have the time
To take this opportunity
Time for me to look at you
And you to look at me.

Recording began with the working title ‘Too Much’, at De Lane Lea Studios in London. On 25 May 1967 The Beatles recorded a number of rehearsal run-throughs before taping four takes of the rhythm track – Hammond organ, lead guitar, bass and drums. On 31 May they returned to De Lane Lea, adding percussion, lead and backing vocals, and handclaps.

“John and Paul’s backing, meanwhile, started to waver a little, the chanted ‘too much’ eventually becoming ‘tuba’ and then ‘Cuba’. It was that sort of a song.”

‘It’s All Too Much’ was completed on 2 June, with the addition of four trumpets and a bass clarinet. One of the trumpet players was David Mason, who also performed on ‘Penny Lane’, ‘A Day In The Life’, ‘Magical Mystery Tour’, and ‘All You Need Is Love’.

From: https://www.beatlesbible.com/songs/its-all-too-much/

The Nields - Tailspin

Now billed as a twosome, Nerissa and Katryna Nields have retained the signature sound of their former band the Nields on their newest release, Love & China. The key to the Nields' sound over the years has always been the slightly quirky combination of the sisters' voices. Despite the duo billing, former band mate Dave Chalfant is very much involved in this record -- as bassist, producer and husband of Katryna; former band mate Dave Hower also appears on drums on several tracks.
Love & China offers a listener-friendly collection of songs all written by Nerissa, which vary from the folk-rock that the Nields are known for, to alt-country and even alt-pop -- maybe even alt-power pop in the case of several songs such as "Yesterday's Girl," which in some alternate reality would be, could be and should be huge hits. Perhaps this is what the alt-labels are really all about. "Ticket to My House" leads off the album with a nice slice of folk-pop that would also go down very easily on the radio.
Tracks three through six move resolutely into country territory, with "Love Me One More Time Before You Go" sounding more traditional than alt-, featuring pedal steel guitar and a classic story of soon-to-be-lost love. "Tailspin" follows with some wonderful fiddling by Alicia Jo Rabins and excellent production to match. Look out Dixie Chicks! "I Haven't Got a Thing" continues the country groove established by the two previous tracks.
Intelligent and clever writing also makes this record special. On "Christmas Carol," the Nields put their unique vocal stamp on Christmas with an original song that uses the titles of familiar Christmas carols in the lyrics. Lines like "Merry Christmas, new born baby" in addition to the obvious Christmas connotation, have a nice double meaning as a reference to Dave and Katryna's daughter Amelia, who was born just before the recording of this album began.
The title track is the high point of the album with another strong pop arrangement and great lines like "I was young but I looked twenty-seven, you were old but you acted like eleven." With a tone that sounds incredibly autobiographical, this song gets intense with lyrics such as "All I ask is that you treat me like a friend, and walk me through the shards of all of your lies, through the broken love and, the broken china, all along the shore of the Jealous Sea." With songwriting this good dominating, it's easy to forgive the indulgence of memorializing a deceased dog on "Eulogizing Emma," performed solo by Nerissa. With first-rate songs, musicianship, vocals and production, Love & China, the Nields' 10th album, could well be their most fully realized and best effort to date.  From: https://www.rambles.net/nields_love02.html

Saint Abdullah & Eomac - Good Morning Machete/Old Enough to Log In

Saint Abdullah and Eomac is a long distance, ongoing collaboration between Mohammad and Mehdi Mehrabani, New York based Iranian-Canadian brothers who make up Saint Abdullah and Eomac, aka Ian McDonnell, a producer from Wicklow, Ireland, who released the excellent ‘Cracks’ LP on Planet Mu a couple of years back. They hope to finally meet this summer, but that hasn’t stopped them already releasing an album ‘Patience of a Traitor’ on Nicholas Jaar’s ‘Other People’ label last year.
Initially starting work together in 2019, they were mutual fans of each other’s work and found that their own productions, Saint Abdullah using outboard analogue gear and Eomac in the box, complemented each other with a sense of rawness and heavy use of samples and extreme contrasts.  With a title that hints at not getting too caught up in the information war, the EP also sounds like a rule of thumb for a collaboration, based on building tracks by passing music back and forth and working intuitively.
The five tracks here run at different speeds, from the beat-less opener, title track ‘A Vow Not To Read’ to the hip hop pace of ‘Wali’ with samples that draw from Shia Mourners, to the spaced out crunchy slow-mo of ‘Mother I Couldn’t Sleep’ with Aquiles Navarro on trumpet. While ‘Toes In The Hummus’ has a rhythm like marbles being shook, all the EP is underpinned with thick chords, giving it a sense of cohesion, even with the chaos bubbling above.  From: https://planet.mu/releases/a-vow-not-to-read/

L'Ham De Foc - Un Nom

L'Ham de Foc is a Spanish group that has made two beautiful albums. Their music is enchanting and intense. The Spanish sound is mixed with all kinds of influences from other traditional music forms. This creates the group's own timeless sound. The third CD is on it’s way and since the band is not really known here in the Netherlands (but does perform regularly in Germany), an introduction is in order. Who are L'Ham de Foc? Can you introduce yourself to the readers?

The core of the group is formed by singer Mara Aranda and by Efrén López, who plays the various string instruments. We are also the two who make the compositions and lead the band. There are six other musicians besides us. The complete band is as follows: Mara Aranda: vocals, didgeridoo, tanpura Efrén López: zanfona (hurdygurdy), oud, saz, laouto de Creta, langeleik, santur and other string instruments Diego López: percussion (davul, bendir, riq, panderetas, kanjira...) Eduard Navarro: traditional wind instruments (gralla, dolçaina, Xirimia, gaita , gadja...) and string instruments (llaüt, moraharpa...) Constantino López: cittern, oud, saz, mandola. Hristos Barbas: ney, kaval, renaissance flutes Osvaldo Jorge: percussion (tabla, riq, ghatam, darbuka, redoblant...) Juan Manuel Rubio: medieval harp, zanfona, saz, santur. We are based in Valencia, but since it is difficult to find musicians who play the instruments we want, they come from all over Spain and even Greece.

When did you start making music?

As L'Ham we have been playing together for eight years now, but everyone played in other bands before that, with different styles. Some in purely traditional bands, others in more experimental groups. Mara and I (Efrén) met in another band from Valencia, which no longer exists. We discovered that we could inspire each other by composing music that we both love. That is how we started our first sessions at home with simple recording equipment.

Where and from whom did you learn to play traditional music?

Mara studied traditional Valencian singing, and still does, with the best singer ever from Valencia, Apa. Mara and I live together and travel regularly to Greece and Turkey to learn to play the instruments that come from there, such as the saz, laud and oud. Eduard Navarro (one of the musicians in the group) has been teaching the Dolçaina (traditional wind instrument) for more than twenty years. A while ago he went on a field trip and recorded old people who still knew melodies from the old days in small villages. Another musician, Osvaldo Jorge, had a scholarship to study percussion from the North and South of India in Delhi.

Is it true that most of your music is not really traditional, because you wrote it yourself?

We don't like to take traditional melodies and play them our way. We prefer to create our own songs, using the aesthetics and tradition in an open way. All the instruments we use are traditional, we don't use keyboards, bass guitars or drums. However, we try to create a clear and powerful sound of our own. For this we use instruments that have their limits compared to modern instruments, but for us they have a personality.

How would you describe your sound; Spanish, Pan-European, a fusion of Southern European and Oriental music?

The word fusion is often used to give a name to forms of traditional music, whether it comes from Lapland, Turkey, Iran or Galicia, that is mixed with pop or another Anglo-Saxon style. We prefer to use instruments that are sometimes half forgotten, or undervalued, but that can be very inspiring in the process of creating melodies. Perhaps the constant element in our music is a certain form of aesthetics, the drone. You can find this in the medieval music that we find very beautiful, but also in Afghan music, our own traditional music and Scandinavian music, to name a few examples. In addition, we emphasize the lyrics and try to give a poetic twist to what we do.

Your two records seem to be conceptual works. What are your ideas behind these records?

As we actually said in the previous answer, it is mainly about a certain sound that is convincing, the use of instruments that sound really magical and that we ourselves do not even understand a hundred percent because they are not used in other music. When you listen to "modern" music, 90% of the sound is based on guitars, bass and drums. We therefore believe that rock music is the most conservative form of music you can play today. The first album, U, was a very powerful album, the second, Cançó de Dona i Home, was much more ethereal.

What can we expect from the upcoming third album?

The second CD had many quiet passages, but we also felt like we played a lot with compositions of rhythms that we had never used before, such as 11/16, 9/8 and 5/8 bars. However, these pieces were never made on purpose, they emerged in a natural process. Each CD reflects what you are doing at that moment. It is difficult to define your own work, but people who have already heard the new CD say that it is more rhythmic again. The harmonious feeling of Cançó de Dona i Home has disappeared and has made room for a more rhythmic sound. The Turkish saz plays an important role on the new record. We have six different saz instruments, six different big ones, and in several songs this instrument forms the basis. Another aspect is that we use more open structures without thinking about the length of the songs. So there are pieces with long instrumental passages, which may not be so easy to listen to at first hearing.

There is always a lot of time between your records. Is it a long process for you until a record is ready? Can you tell us something about the creative process?

If we would just play traditional songs we could probably make a CD every year. A new record demands a lot from us, too much to just release something. In addition to L'Ham de Foc we have other projects running in parallel that give us new ideas that later find their way into the music of the band. We are not a band that works traditionally and therefore where everyone participates in the creative process. Mara and I compose the music at home and when we have something important to say we record a new CD, without thinking about how we can present that music in a live situation. Only when we have to perform the songs live do we start thinking about the musicians we need for that. Every CD is a project and sometimes the band will look different when we have new repertoire to play live.

What is your view on traditional music? Should it remain pure or are experiments necessary to keep it alive?

We believe that both are necessary. We have worked with other groups that are purely traditional, but also with musicians who do not shy away from experimenting. Tradition is not something static and fixed. It has never been that way. As an example, you can take an instrument like the accordion. This is recognized in Bulgaria, Colombia, France and Egypt as a traditional instrument. But if these traditions had been closed to this instrument at the time of its invention, the possibilities that the instrument offers would have been lost. There are more examples like this.

Is traditional music on the rise in Spain?

Yes, in Spain you see more and more groups, festivals, workshops and instrument builders. We cannot say much about the market for this music. We ourselves listen to mostly purist music that never penetrates the music business.

Translated from: https://www.folkforum.nl/archief/profiel/5119-interview-lham-de-foc

Large Plants - This Lock Will Hold

One of my favorite debuts of last year was The Carrier from Large Plants. The band, essentially the solo output for Jack Sharp of Wolf People, carries on the band’s decidedly English brand of psychedelia. Recorded in the same country barn that birthed The Carrier, Sharp follows up with an extension of the sessions, moving away from the more muscular psychedelia of its predecessor for an album wrapped in mists, mystery, and damp melancholy. The Thorn couldn’t come at a better time, rising from the bogs in the bottom-half of November, embracing the barren chill as it begins to seep in to your bones. Reflecting the biker psych bravado of its cover, The Carrier was rife with riffs, though still doused in Sharp’s prog-dipped poison. If the first album was a tale of a modern marauder with his steel horse rumbling a lysergic pulse through the bloodstream, The Thorn is its Arthurian reflection in the oil slicked puddles below.
The prog thread rises quickly and holds tight to this one. Sharp’s leads curl like wood smoke through the thatch, burning with an acridness that permeates the senses. Sharp has spent years carving out the kind of mossen psych niche, but here there are a few touch points that seem notable. The album balances ferocity and fantasy in the way that obscurities like Day of Phoenix or Twink’s heady solo stint Think Pink once perfected. The Thorn winds deep into the heart of loner prog, phantom hooves pounding behind each song as the album wends on its quest through overcast odes and solos that glow like firelight embers. Leaving only ash and agony in its wake, the album is a dark cloud, but also a bright spot in the 2023 calendar. The more listens that wind around the listener, the more it feels as if The Carrier doesn’t exist without The Thorn. The albums are indispensable companions, born of the same solitude and reflecting two sides of Sharp’s psyche. This is the kind album that stave off list culture quick draw. Sometimes one of the year’s best creeps out as the hour draws to a close.  From: https://www.ravensingstheblues.com/large-plants-2/ 

Aretha Franklin - Soul Serenade

Yes, the saxophone is absolutely gorgeous, provided by King Curtis, one of the players responsible for the original 1964 recording. And the pensive piano playing by Spooner Oldham ushers in a degree of wistfulness to the song that is utterly ethereal. But without a doubt, the true magnetism of ‘Soul Serenade’ lies in the inimitable voice of Aretha Franklin. The way she forcefully coos and wails comfortably in each pocket of the instrumental, slowly building to a stunning, reverberating crescendo with each subsequent cadence. By the track’s waning moments, it is, in fact, the audience who has been mesmerically serenaded. Without a shred of hyperbole, it’s truly one of the most groundbreaking recordings of the 20th century - and it’s not even the most acclaimed song on the album.
It’s difficult to fathom that 1967’s I Never Loved A Man The Way I Love You, perhaps Franklin’s crowning artistic achievement, was actually her 11th studio album, and even more difficult to fathom that the album largely consists of covers. The suspension of belief mainly lies in the fact that there is no single instance in the annals of rock history where an artist has taken on the herculean task of interpreting others’ work with such masterful grace and gusto. Even Otis Redding’s 1965 ‘Respect’ (an artist much renowned for his otherworldly singing prowess) was largely escorted to the sidelines with Franklin’s ubiquitous 1967 version. Further gems like ‘Do Right Woman, Do Right Man’ signaled the eternal crowning of a musical goddess, one that could inject profound meaning into each and every crevice of her deafening yet infectiously melodic vocal utterings.
I Never Loved A Man The Way I Love You is commonly listed as one of the greatest all-time artistic achievements by any publication with an ounce of credibility. But Franklin didn’t always dabble in the secular arts. Born in Memphis, Tennessee, but spending the majority of her formative years in Detroit, Michigan, she developed the brunt of her singing chops while singing choir in the church. After signing to Columbia records, she tasted her first chart success with 1961’s ‘Won’t Be Long’. Usually, there is a maturation process with soul singers, but Franklin exhibited an almost uncanny control over her sprawling voice, thoroughly penetrating the innards of chords all the while dripping with an untamed, ferocious confidence. Her throaty howl, combined with a mezzo-soprano touch that she first utilized in the church, was purely arresting and lent itself well to her secular leanings. During these early years of her career, while exhibiting a particularly lively performance in Chicago, she was dubbed “The Queen of Soul”, a well-earned moniker that would stick with her for her entire career.
A fortuitous move to Atlantic saw the records that would ultimately come to define her legendary career, such as Aretha Now and Lady Soul, the latter of which featured the Grammy-winning ‘Chain of Fools’ – a Franklin staple for years to come. After a slight string of slumps in the late 70’s as she struggled to acclimate herself to changing musical tastes, Franklin rebounded with 1985’s ‘Freeway Of Love’, bringing about a platinum plaque for the album Who’s Zoomin’ Who? Franklin once again captured massive success in later life with 1998’s A Rose Is Still A Rose (her 37th album), which went on to reach certified Gold status.
Perhaps the scope of Franklin’s true brilliance and iconic reach cannot be truly measured in album sales but the exponentially growing heartfelt condolences from the likes of Paul McCartney, Diana Ross, Adele, Liam Gallagher, and Elton John. It seems incomprehensible that one woman could have had such a profound effect on such a varied class of innovators in their own right. But to put things in perspective, all one must do is take a look at the cover of I Never Loved A Man The Way I Love You. Franklin is at once demure and tenacious, with eyes seemingly posed to quite literally set the world on fire, equipped with an elegant dynamism the world had yet to fully encounter. As she so eloquently put it on ‘Soul Serenade’, Franklin is now free to fly away and sing to the world about her soul serenade.  From: https://drownedinsound.com/in_depth/4151972-in-memoriam--aretha-franklins-soul-serenade

Jellyfish - Live Germany 1993

 Jellyfish - Live Germany 1993 - Part 1

 

Jellyfish - Live Germany 1993 - Part 2

 

The last time Andy Sturmer and Roger Manning spoke to each other was in the spring of 1994. They hooked up in Los Angeles to record a song for a tribute album to Harry Nilsson, the American singer-songwriter who’d once run wild with John Lennon and had died of a massive heart attack earlier that year. Having cut the track in an afternoon, the two high-school friends went their separate ways. Or, to be more accurate, Manning split for a career as a jobbing musician, while Sturmer effectively vanished. Both of them prodigiously gifted musicians and songwriters, Sturmer and Manning seemed to spark best off each other. In 1989 they formed a band to realise their shared vision of a single group capable of sounding like all the music they’d discovered on FM radio while growing up in suburban California in the 1970s; a heady mix of The Beatles, the Beach Boys, Cheap Trick, ELO, 10cc, Fleetwood Mac, Wings and much more besides. They called their band Jellyfish, accurately conveying the sense of something imbued with grace, yet amorphous, alien-looking and fleeting.
Over their two albums together they pulled off a musical conjuring act. All at once Jellyfish sounded like a haphazard jumble of ideas rushing together, as well as something entirely coherent. Into their wondrous pop-rock songs they corralled labyrinthine harmonies, soaring string arrangements and melodies as evocative as a Californian sunrise. The best of these sounded like smash hits from the two previous decades that had somehow escaped the collective memory. Their tragedy was that the band surfaced at the point when the music business swam into the darker, gloomier waters of grunge, and Jellyfish were doomed to drift out of time and place. The final song Sturmer and Manning put down together that day in 1994 was fitting, since it was a cover of Nilsson’s surreal ode to psychic trauma, Think About Your Troubles. For all the glories of Jellyfish, it was a band riven by frustration and pain. It broke it’s two leaders in two and sent one of them fleeing into a self-imposed exile from which he has never returned.
Roger Manning first met Andy Sturmer at the end of the 1970s at high school in Pleasanton, a genteel neighbour of San Francisco. The freshman Manning was a happy-go-lucky teen whose uncle had drummed in various psych-rock bands and who had learnt to play piano on a second-hand instrument donated by his grandparents. A year older than Manning, the more diffident Sturmer excelled as both a singer and a drummer, and was a member of the school’s crack jazz band to which Manning aspired. “I’ve never seen anyone of his age with that expertise and command of his instrument,” Manning says of Sturmer. “Andy was one of the first kids in our town who took it seriously and had a goal. He was my hero.” After graduating from high school, Manning left his home town for LA, enrolling at USC to study musical composition and running headlong into the city’s febrile mid-80s music scene. LA was alive to the sounds of post-punk, the Byrds-obsessed Paisley Underground movement and, most prominent of all, glam-metal, which was exploding from the Sunset Strip. But Manning was captivated by an LA band that stood apart: flamboyantly attired pop-rockers Redd Kross.
He began auditioning for bands, setting aside his initial intention to become a film composer. Answering a newspaper ad from a teenage guitarist looking for like-minded musicians and who listed his influences as “Bowie, XTC and the Blue Nile”, Manning made contact with Jason Falkner. Handsome and self-assured, Falkner carried himself like a rock star-in-waiting. The pair would meet at Falkner’s parents’ house and, with Manning sat at the Falkner family’s grand piano, play each other the songs they had begun writing. “Right away I could tell that Roger was an amazing musician,” says Falkner. “He was also really square-looking at the time; he had short hair and wore a Lacoste polo shirt.”
“I was like a writer in one of those old movies – cranking out ideas for hundreds of songs and then screwing them up and tossing them in the trash,” recalls Manning. “The first one I got that I thought was as good as Elvis Costello or Andy Partridge of XTC, or any of my other heroes, was Bye Bye Bye, which Andy later wrote the lyrics for and we recorded for the second Jellyfish album.” Manning had stayed in touch with Sturmer, and knew that his friend was teaching himself to write songs as well. Sturmer had decided that being the best drummer in the world wasn’t his top priority any more, and was also learning guitar. He’d hooked up with Beatnik Beatch, a San Francisco band with a manager and a record deal. Initially their drummer, Sturmer was soon sharing vocals and songwriting. When Beatnik Beatch’s keyboard player quit, Sturmer recommended Manning. His brief flirtation with Falkner having come to nothing, Manning embarked on a regular 12-hour round trip between LA and San Francisco to play with Beatnik Beatch. At the same time, he and Sturmer began writing songs together. Lavish compositions, they were poles apart from the earth-bound songs of Beatnik Beatch, and hastened the demise of that band. In 1989 Sturmer and Manning struck out on their own, holing up in San Francisco and assembling a catalogue of songs and working up their blueprint for Jellyfish. One of them would bring a scrap of an idea to the other, and together they would magic it into being as a fully formed song.
Back then the songs poured out of them, swooning, aching tunes such as The Man I Used To Be, That Is Why, and a solo Sturmer composition, I Wanna Stay Home, which echoed Paul McCartney at his widest-eyed. The peak of this intoxicating period arrived with The King Is Half-Undressed, a euphoric mini-symphony that ranged across the vivid musical landscape first painted by Lennon, McCartney and Brian Wilson. Manning describes it now as being “the definitive Jellyfish song and all that we strived for as songwriters”, his pride in the band’s work apparent in the quickening flow there is to his words whenever he talks about it. Scouting for other musicians to help them demo the songs, Manning got back in touch with Jason Falkner, who was persuaded by the promise of a major-label deal. Manning – now sporting a head full of dreadlocks – warned him prophetically that he might find Sturmer tough to get along with. “He saw us as similarly strong personalities and feared that might be a problem. And boy was he right,” says Falkner. “I immediately had trouble with Andy. He’s just a difficult guy. There were days when he wouldn’t even look at me. Roger and he didn’t really have an easier relationship. Roger came up to me a couple of times, almost in tears, and said: “Screw this, it’s too hard.”’
According to Manning, it was the group goal of creating the perfect record that saw Jellyfish through the fractious making of their debut album. Most other American rock bands of the time were either crotch-fixated or navel gazing, but Jellyfish’s perspective seemed positively celestial. Recorded at Schnee Studios in north Hollywood and released into the long, hot summer of 1990, Bellybutton was a seamlessly constructed statement of intent: 10 vibrant songs stuffed full of wit and invention, and further elevated by the assured touch of veteran producer Albhy Galuten, who had recorded the Bee Gees’ Saturday Night Fever. “It was a really exciting time making that record, but also bittersweet,” says Falkner. “The songs were the sweet bit. We were all very young. I was just twenty and Roger and Andy weren’t that much older, but the music is very sophisticated. It was hard because Andy and I weren’t talking.” Sharing bass playing with Falkner on Bellybutton was Steve McDonald from Redd Kross. He had been courted by Manning over pizza one afternoon. Manning enthused to McDonald that the album was meant to sound “somewhere between Queen and the Patridge Family”.
“I was blown away, because they actually achieved what he said they were setting out to do,” McDonald says now. “I didn’t know of anyone that could do that – and I’d been trying for many years.” McDonald nonetheless had a shock when he caught the video for the album’s lead-off single, The King Is Half-Undressed. It unveiled Jellyfish resplendent in their newly acquired thrift-store costumes: billowing flares, brightly coloured shirts, platform boots and garish top hats that brought to mind four different interpretations of Willy Wonka. It was precisely the boho-psychedelic look that Redd Kross had been rocking for years. “I felt a little duped by that,” McDonald admits. “But they were so good it didn’t matter. Plus I was stoked having more freaks out there to identify with.”
By that point Bellybutton had appeared to gushing critical acclaim, and MTV was also quick to bestow its patronage on the band. With Manning’s younger brother Chris on bass, Jellyfish set off on a year-long tour that saw them opening for the likes of kindred retro-spirits the Black Crowes and World Party. Their show was striking for the fact that Sturmer stood stage front-and-centre, singing and drumming, and notable for the band replicating the multi-layered sound of Bellybutton. They built up a cult following, especially among their fellow musicians, but the record itself never found a wider audience, and months of close proximity to each other exacerbated existing tensions. Chris Manning quit at the end of the tour for a quieter life as a producer. Falkner, increasingly frustrated at having his own songs ignored by Sturmer and Manning, was next to jump ship. “I had to get out,” Falkner says. “I was diagnosed with having an ulcer on my twenty-first birthday. The doctor asked me: “What’s the problem, kid? Is there something or someone…” I said: “Let me stop you right there. There is indeed someone.”’
Stripped back down to a duo, Sturmer and Manning collaborated with Ringo Starr on his 1992 album Time Takes Time. They were also invited to write with Brian Wilson, although Manning recalls their single, unproductive session with him as “utterly surreal”. When their thoughts turned to the second Jellyfish album they were determined to make it their masterpiece. Even at a distance of 21 years, Spilt Milk is an overwhelming record, one that almost but never quite buckles under the weight of its makers’ epic ambition. Inspired by the grandiose feel of Steely Dan’s brace of mid-period jazz-rock classics – 1977’s Aja and 1980’s Gaucho – Sturmer and Manning assembled it in painstaking detail and using vintage analogue equipment. The new songs were written in their adopted city of LA between October 1991 and March 1992, Manning trooping to work with Sturmer at his house from 11am to 7pm, six days a week. More months were spent in the studio constructing this vast musical edifice, rendered by massed choirs and with strings, brass, flute, banjo, wind chimes, harpsichord and more. Spilt Milk ran a gamut from driving pop-rockers such as The Ghost At Number One to tremulous ballads to a baroque circus show tune Brighter Day.
The ruin of the album was that it appeared just when grunge was peaking in the US and when no one was waiting for a modern-day Pet Sounds. Charting in the US at No.164 on the Billboard Hot 200 in February 1993, Sturmer and Manning’s labour of love sank without trace. They dutifully toured it with another line-up of backing musicians, but their own relationship had started to unravel. The last thread holding them together snapped when they began work on a proposed third Jellyfish record at the beginning of 1994. “We had personal issues, but it doesn’t serve us or the public for me to share them,” says Manning. “If I’d known back then about therapy and the option of people getting counseling, I’d have suggested that Andy and I enroll in it.” It was also clear that their individual musical paths were diverging. Sturmer’s new songs echoed classic singer-songwriters such as Van Morrison and James Taylor. “I remember going round to his house and him playing me a song on acoustic guitar that was finished from beginning to end,” recalls Manning. “It was a classic country ballad. I left in tears because I had zero interest in recording it.”
In the immediate aftermath of Jellyfish’s demise, Manning formed the short-lived Imperial Drag, whose solitary album (self-titled), of 1996, sounded like a heavier version of his old band. Since then he’s released a couple of decent solo albums, is currently working on a third and also records and tours as a member of Beck’s backing group. Sturmer got married and retreated to the shadows. For several years he acted as Svengali to Japanese pop duo Puffy AmiYumi. More recently he’s carved out a lucrative career at Disney’s TV network, writing songs for children’s shows such as Ben 10 and Teen Titans. He’s been otherwise elusive. That it wasn’t possible to track him down for this piece is hardly surprising, since he hasn’t given an interview in 20 years. Even those who have worked with him, such as fellow songwriter Mike Viola with whom he collaborated in LEO, a one-off homage to ELO, confess that he left them with no contact details.
After Jellyfish, Jason Falkner went on to make his own solo records and undertake a run of steady session gigs. He last saw Sturmer in 2004. At the time, he was at Ocean Way Studios in LA and recording with Paul McCartney. “I was standing in the hallway when I heard a familiar voice talking to the girl on reception,” he says. “It took me five seconds to recognise that it was Andy. He said he’d had a premonition that he was going to see me that day. Then he told me he was sorry for never having given me a chance. I was floored. We exchanged phone numbers, but neither of us has ever used them.” Twice as long has elapsed since Roger Manning had any contact with his old partner. “It was a surprise to me that Andy chose the route he did,” he says. “I felt sure he’d make solo albums of his own material, like the ballad he played me. That was a brilliant song and the world should hear it.” Manning thinks it’s possible that he and Sturmer will get back in touch with each other at some point, but dismisses the notion they will ever again write songs together. Instead the 22 near-perfect examples of the form spread across Bellybutton and Spilt Milk will remain their lasting legacy. “I’ve met so many musicians and producers through the years who’ve continually referred back to those records,” says Steve McDonald. “Those guys were miles ahead of everybody else.” “To this day I’m shocked that we were even given a chance to compete amidst grunge, metal and all the R&B of the time,” concludes Manning. “We were the most punk-rock thing happening, especially when Spilt Milk came out. I’m proud of the fact we were able to make a very personal and unique statement at a time that was very conforming.”  From: https://www.loudersound.com/features/jellyfish-their-tumultuous-story

 

Dust Mountain - Holy Equinox

Since the late ‘60s, Finland has had one of the most diverse, eclectic and genuinely exciting music scenes in Europe, and much of that has been brought to a more global audience through the work of Svart Records. The fact that Svart were given their own showcase at this year’s Roadburn Redux festival was testament to the quality of their roster, but if there was one band who stood out that weekend it was the hitherto unknown cosmic folk outfit Dust Mountain. Featuring members of Oranssi Pazuzu, Cats of Transnistria, Hexvessel, Death Hawks and Dark Buddha Rising, they brought a broad spectrum of talents together for a set that was earthy, gorgeous and sometimes unsettling. This month sees the release of their debut album Hymns For Wilderness and in celebration, David Bowes spoke to founders, siblings and prolific creators Henna and Toni Hietamäki to discuss the creation of this singular work of outsider folk rock.

E&D: How are things in Tampere?

Henna: Toni is in Tampere and I live in Helsinki. The rest of the band live in Tampere so I travel from Helsinki for band practice.

E&D: Was the runup to Roadburn Redux quite tough work then?

Henna: It was different, actually. We had our own camera team and lighting technician, sound technician. We rented our own space as we had the opportunity to decide where we would be filming it and who we are working with but also it was a big production to do ourselves. Still, I’m really happy to see how it came out.

E&D: Was that space quite comfortable for you, then? Were you already familiar with it?

Henna: I hadn’t played there before but I think Toni had, with Oranssi Pazuzu. It’s a really nice space, I really liked it. We didn’t use the stage itself, we just used the hall where the audience would be so the camera crew would have more room to move around.

E&D: Did Walter contact you himself for that or was it largely handled through Svart?

Toni: It was mainly part of the Svart Sessions so initially it was Tomi (Pulkki, Svart Records founder) who suggested it but it had to be approved by Walter and we were happy to be included in that.

Henna: We were happy that they had the trust in us to do something like that because we hadn’t released anything at that point. It was kind of a world premiere for the band so it’s nice that they took a leap of faith in the end.

E&D: Did you enjoy having your material out there in a live setting before any kind of official release or was it more nerve-wracking?

Toni: I think it was a nice thing to do because obviously there aren’t many shows happening right now. There will be some soon but at that point, live shows were pretty much impossible. That, at least, was very comforting to do and it all worked very well with our music. It was very pleasant for us though we did do a few very small shows in Helsinki and Tampere prior to that. It was our first for a wider audience though.

Henna: It was very nice for us to get the chance to show people what we had been working on in secret, give us a chance to play in a nice space, and practice for that too. It gave us something to focus on because it had been understandably quiet on that front.

E&D: How long have the two of you been working on this material?

Toni: It has been quite a long time, but I can’t even remember how long it has been since Henna and I came up with our first song ideas.

Henna: I was shocked as recently I was going through my phone, looking for old photos, and I realised that Toni and I first got together at our practice space five years ago. I remember that was when we made the first songs that are on the album. So yes, it has been a while – slow progress.

Toni: Yeah, we have not been in a hurry. We wanted to do it properly and to find the right people to play in the band so that it will feel like a real band. Eventually things came together very nicely but it took some time.

Henna: There have been long pauses in the middle but always when we decided to get active again and practice with the band, it’s been really nice. Things tend to fall in to place and the whole thing seems to work effortlessly.

E&D: The full band work together so well. How did you both come to decide on the line-up?

Henna: Well, the drummer and guitarist have been playing with Toni before in different bands.

Toni: We go way back with both of them. I have been playing with Jukka (Rämänen, drums) in Atomikylä, and he’s in Dark Buddha Rising so we have known each other for very many years. Pauliina (Lindell, guitars/vocals) and I played in Pauliina’s band Vuono, and also have known each other for many years, but we didn’t have a bass player so that was hard to find. We knew Riku (Pirttiniemi, bass)’s band Death Hawks and it was very close to what we wanted to do. Also, he’s a very talented musician, not just a bass player. We are really happy that he also joined the band when we asked.

Henna: I used to sing in the same choir with Pauliina when we were children. We’re from the same small town, we have a long history of singing harmonies together so it was very nice that Toni suggested that Pauliina could be a guitarist in the band, because she has a lovely voice also.

E&D: You’ve stated that the lyrics for the album come from a mixture of stories, folk tales and personal beliefs. How did you strike that balance?

Henna: I usually like to write things that don’t have just one meaning but are multi-dimensional and can be interpreted in different ways. The meanings also change when I’m singing in different places. I’m really interested in folklore and old traditions; pagan-rooted Finnish traditions that have been mostly forgotten. I’ve also been interviewing some shamans working in Finland and I’m really appreciative of their thoughts but there’s also this playfulness. The lyrics are not only traditional neofolk but there are also stories and fantasies that are metaphors and not so strict.

E&D: Does the video for ‘Holy Equinox’, which is such a beautifully surreal piece, tie in with the stories or rituals that you are discussing on the record?

Henna: The movements of the girls in the video are loosely and playfully based in different midsummer spells, interpreted by video makers Tekla Valy and Tereza Holubova and choreographer Lotta Nuppola ‒ who is our sister. I’m really interested in these old traditions that are related with seasonal changes, and phases of the sun; these festivals and traditions that are still a part of our culture, but their origins are often forgotten.

E&D: You come from Tampere, which is largely known as an industrial city. Looking at it from that viewpoint, do you think there has been a recent push back towards folk roots and nature?

Henna: I think it’s a rising trend that people are seeking ways to deal with climate change and the situation of the world, the direction we are going and I think people are getting more interested in those basic, important things in life.

Toni: Yeah, it might be a counter-reaction to the industrialisation and technology surrounding us but I think also that people have a natural draw towards the mystical. Traditional Christian religion is not very widely popular in Finland anymore and I think people are starting to get drawn into these older ways, or at least get more interested in old ways, and how the relationship is between man and nature.

E&D: Two interesting, and telling, artists mentioned in relation to your music are Pentangle and Fairport Convention. How much influence have those artists had on you?

Toni: I really enjoyed the soft sound of that music and how that is instrumented. I think those bands were very innovative and we’re not trying to reproduce that same thing but to take something from that era and use it in this moment, in our own way

Henna: I double that – wonderful bands and a very great inspiration.

E&D: To me, it feels like you’ve taken that sound to a darker place. Is that the modernity seeping in?

Toni: It might be. Of course, Pentangle has some dark songs also but maybe we are drawn to the more gothic side of that.

Henna: Yes, you need some danger beside the beauty.

Toni: Also, there are quite celebratory moments in there so it’s not like it’s mournful. I think it’s more celebratory.

E&D: You’ve been working on this material so long, but how did it actually come together? Was there a concentrated recording period or has it been done in bits and pieces over the years?

Toni: I think it’s mostly that we are just very slow. When we work together on music, Henna and I, I feel it comes very naturally. We have a good chemistry and come up with things very effortlessly, and it’s quite fast, but then to arrange band practice and studio time, it’s a bit complicated because all of us are playing in many bands, and there are time schedules and other practical things like that. When we get together, though, it’s very effortless and the record was done in that way. We went to a fine recording place in Tonehaven with Tom Brooke, a small studio space in the woods.

Henna: It used to be a barn, it’s very nice.

Toni: Then we just captured all the songs that we normally played live and then did some overdubbing on that. We tried to preserve the natural flow of these things in the recording.

Henna: The overdubbing and the mixing process was quite long. Overall, from when we started and went to record the basic tracks to when we were finished, it was maybe half a year? That’s not long! I don’t know what’s normal.

Toni: It depends on who you are comparing it to. If it’s Guns ‘n Roses, then it’s not long.

E&D: Is this the first project that the two of you have worked on together?

Toni: Actually, yes.

Henna: We’ve been asked to play together for family events but that’s about it. We’ve just been together for fun, not seriously, before this.

Toni: I think it was just a matter of the timing being not good for this. I’ve wanted to do music with Henna but we’ve always been doing our own stuff separately. I don’t know why it happened now.

Henna: I’m really glad that it happened just now because I think that now, we are old enough to work together as siblings.

Toni: Yes, where we can not argue like sisters!

Henna: We are now professionals!

E&D: Toni, you said that the two of you have a good chemistry together. Is that because you are similar or is more of a contrast?

Henna: Personally, I like everything that Toni does. I might have some suggestions if I want to take a melody somewhere else in some part but I appreciate his talents. Like he said, it’s usually quite effortless for the two of us. I think we have the same taste and both want to push things. We are both ambitious, though I think Toni is maybe more musically ambitious than I am.

Toni: Nooo…

Henna: I mean, neither of us want to make generic musical structures. We want to try to make creative choices.

Toni: I think we have similar tastes in aesthetics. We do like some different things but I think that is only a good thing in terms of complementing each other. I think we also have quite clear roles when we write songs. I mostly write some guitar lines and chord progressions and then Henna comes up with the vocal melodies. Both of us come up with what makes us feel good and then we try to make it work together. It’s pretty much that simple.

E&D: Were you both involved with the mixing and recording of the album? It has this wonderfully warm, very rich quality to it.

Toni: Niko (Lehdontie), who is also the guitarist in my other band Oranssi Pazuzu, did the mixing. He’s a really good guy for that kind of natural sound with cosmic overtones. He has a taste for that kind of stuff and is really good with effects, things like that. We worked really closely with him but he did all the technical work himself.

Henna: I think the overall production is a lot of Toni’s handiwork. The layering of the organ brings a lot to the sound.

Toni: Yes, I did quite a lot of the stuff for the arrangements, like the mellotron and keyboard, that kind of stuff. Then we just handed the whole mess to the mixing guy.

E&D: So, what’s next on the agenda? Henna, you mentioned some live shows in Finland.

Henna: Yes, there’s still restrictions but it looks like we can do a couple of shows when the album comes out. It would be nice to play a lot of shows but it’s still in the process.

Toni: Of course, we are trying to do many shows when the album is released but it is impossible to say just now how many we can do with the situation in the world right now. We are also trying to write some more songs but it is hard to say when they will be finished, Maybe five years from now if you go with the previous timeline! Maybe earlier than that though.

Henna: I’m curious to see how the album is received, that will affect how many shows we can play and where.

Toni: I’m very happy about how the album turned out and I’m very excited to hear how people are receiving the music.

From: https://echoesanddust.com/2021/10/dust-mountain-voices-from-the-wilderness/