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