OK, we live in world of multiple-connections, and everything is available at your fingertips with just the aid of a few mouse-clicks.
On the one hand, this is brilliant, because anything we need to know, want to hear or see, or fill gaps in our knowledge is all stored in a massive database called the Interweb.
But the grumpy old git inside me says: do we no longer need to learn and retain knowledge, when we can just Google it?
And what of the basic "Hunter Gatherer" instincts? Do we still retain the urge to hunt down records, films and books that are not easily findable on the high street?
This affliction started many years ago, when you would try and out-do your friends by finding more interesting stuff than they had. For example, they may have procured an a copy of Iron Maiden's "Sanctuary" in an uncensored picture sleeve, but did they have a Greek version of "Flight Of Icarus"? There is no distinct difference between the UK and Greek versions, but it is just a case of smug one-upmanship. And so the hunt continues ...
To increase your chances of finding the "best" stuff, it was necessary to make pilgrimages to London, spend hours stuck on trains or stuck in traffic trying to find Record Fair venues, or spend Sunday mornings at Jumble Sales and Car Boot Sales - all in the hope if finding something that no-one else has got. Or even better, were un-aware of its existence, or had never even heard of.
When you did get something new and interesting, whether it be record, film, book of video of "unseen" footage from foreign TV, the shout would go out and all would gather round for the unveiling and congratulations. Copies may be produced, and a "Conditions Of Borrowing" contract drawn up.
And this competition as not just limited to music - films, videos of old TV shows, books, even Football Programmes were sought out, displayed proudly and generally coveted by on-lookers.
I once bought a pile of old 8-Track Cartridges, purely on the basis that "no-one else has got these!"
(Interestingly, a similar set of rules applied to videos and books of distinct "Gentlemans Interest" often found under hedges in the local park).
Visits to Record Fairs and Jumble Sales also taught the art of haggling. You're obviously not going to get a first pressing of The Beach Boys 'Pet Sounds' for £1, but you may baulk at the £40 price-tag and offer the seller a lower, but still sensible, price. Sometimes you win, sometimes you lose - but it's all part of the game.
There are of course other times, when you will pay the marked price because (a) it is an absolute bargain and the seller obviously doesn't know what they are doing, or (b) you any never see another copy, so will gladly handover a weeks housekeeping money to ensure you own it.
This was a time when you were judged by your ability to hunt down and procure the interesting and (seemingly) unattainable.
In the early 80s, a friend of mine had a complete set of Monty Python Videos (not recorded off the telly, the proper, pukka ones only available in Video Rental Shops) - he was like some sort of God in our eyes.
Another friend had the first pressing of The Beatles 'Please Please Me' album - highly desirable, but it was not Monty Python was it?
I played my part in this "willy waving" contest by owning a copy of Johns Children "Desdemona" single (bought for £20 in 1988).
Another friend claimed to have a copy of "God Save The Queen" on A&M, but no-one ever saw it, and he was a lying git anyway.
Any new town or city I visit, I retain the ability to sniff out local record shops and/or second hand shops where I try to find collection fillers, and often stuff I never knew I wanted.
There is little to compare to the thrill of stumbling across a long sought after album or single, or interesting, yet possibly unnecessary, memorabilia.
But now, it's all too easy.
I can be taking care of my morning ablutions whilst browsing eBay looking for more copies of Stiff Little Fingers "Suspect Device" (I already have 4 different versions/variants), or driving to work and listening to something on the radio, and by the time I have logged on to the work computer have just bought the new stuff from Amazon.
No more the need to write it down and/or remember, no more the need to plan a weekend away to coincide with a Record Fair (I still do, of course), no more trawling second-hand shops in the vain hope of finding a gem.
Well, none of the above is actually true - both worlds co-exist quite happily, I'd just rather live in the former world where it is more of a challenge and hence more of an achievement when The Undertones "Teenage Kicks" EP (on Good Vibrations) is found and filed away on your shelf.
An just a couple of curmudgeonly observations to finish:
* A quick note to sellers on EBay (et al): Most people ain't daft and can spot a re-press/re-issue or dodgy copy a mile off. Don't go sticking stupid price tags on what is essentially cheap crap
* Charity Shops/Jumble Sales (and EBayers again) - just because it is on vinyl and released more than 10 years ago does not immediately mean it is valuable. £30 for 'War Of The Worlds' or 'Now Thats What I Call Music 7' just means you will be left with a pile of unsold records.
A Charity Shop I used to frequent had a fairly blanket pricing policy of 50p to £1 for singles, and £3 to £8 (£12 if a double) for albums. And then someone either looked on EBay or bought a copy of Record Collector ...
* There is no such thing in the world as "having too many records"
Happy Hunting!
Monday, 6 April 2015
Wednesday, 11 March 2015
Noel Gallaghers High Flying Birds - Chasing Yesterday
The two biggest facets that Oasis had in their locker were Liam Gallagher's wild man of rock frontman schtick, and Noel Gallaghers songwriting ability.
Beady Eye provided an outlet for Liam's frontamn persona, and the first High Flying Birds album housed Noel's latest batch of songs.
Of the two, Noel Gallagher's High Flying Birds produced the better album, containing a clutch of songs that developed, and in many ways enhanced and possibly eclipsed, the latter days of Oasis.
And so to the second album.
Beady Eye provided an outlet for Liam's frontamn persona, and the first High Flying Birds album housed Noel's latest batch of songs.
Of the two, Noel Gallagher's High Flying Birds produced the better album, containing a clutch of songs that developed, and in many ways enhanced and possibly eclipsed, the latter days of Oasis.
And so to the second album.
- Will it continue to show growth in Noel's songwriting.
- Will the influence of the planned (but now indefinitely shelved) collaboration with Amorphous Androgynous have a bearing on the song construct and overall sound
- Will the songs contain elements of the promised "stretch" and use of unexpected instrumentation
The answer to all the above is "not really" (well, "no" if I'm being blunt).
What you get is 10 tracks (14 on the Deluxe Edition) of the tried and trusted, with the odd musical diversion. What it is a second collection of songs that are written for Noel Gallagher's voice and are very familiar and reminiscent of the "partially solo" stuff released on Oasis records.
NOTE: This is not a bad thing
The familiarity (and the plagiaristic tendencies) are there right from the start with "Riverman" (which is not (perhaps unsurprisingly) a cover of the Nick Drake track).
Commencing with another approximation of the "Wonderwall" riff, before continuing in an almost melancholic tone, this track sets the scene for the record. Despite the inclusion of some nice greasy Pink Floyd-esque saxophone, the familiarity is most welcome, and keeps you wanting more (possibly in the hope something new/unexpected comes along).
The same tone of comfort continues through "In The Heat Of The Moment" and "The Girl With The X-Ray Eyes".
"Lock All The Doors" bounds in like a proper rocker from the Oasis debut. "Dying Of The Light" returns to the melancholic delivery, complete with a continuous stream of rhyming couplets that you can see coming a mile off (but this is what we expect from NG, so this is not a criticism).
"The Right Stuff" offers a welcome diversion in sound and pace - almost droning, Eastern in intent. Its very laid back and jazzy. It is a track rescued from the Amorphous Androgynous collaboration. Its a great track, with a great feel. For me though, this one track is enough - I'm not sure I want a whole albums worth of this (each to their own I suppose, but not for me).
"While The Song Remains The Same" offers a quasi-religious opening, and just rolls along without ever really engaging or changing gear, but you come away from it knowing you've just heard something good. Always restrained, it feels like its being held back - which may be for the best as it would to too obvious (and too messy) if it were to explode in a cacophony of thumping drum, bass and guitar soloing. Probably not single-fodder, but would sit nicely in a Live set - maybe with lighters in the air.
The familiarity (and the plagiaristic tendencies) are there right from the start with "Riverman" (which is not (perhaps unsurprisingly) a cover of the Nick Drake track).
Commencing with another approximation of the "Wonderwall" riff, before continuing in an almost melancholic tone, this track sets the scene for the record. Despite the inclusion of some nice greasy Pink Floyd-esque saxophone, the familiarity is most welcome, and keeps you wanting more (possibly in the hope something new/unexpected comes along).
The same tone of comfort continues through "In The Heat Of The Moment" and "The Girl With The X-Ray Eyes".
"Lock All The Doors" bounds in like a proper rocker from the Oasis debut. "Dying Of The Light" returns to the melancholic delivery, complete with a continuous stream of rhyming couplets that you can see coming a mile off (but this is what we expect from NG, so this is not a criticism).
"The Right Stuff" offers a welcome diversion in sound and pace - almost droning, Eastern in intent. Its very laid back and jazzy. It is a track rescued from the Amorphous Androgynous collaboration. Its a great track, with a great feel. For me though, this one track is enough - I'm not sure I want a whole albums worth of this (each to their own I suppose, but not for me).
"While The Song Remains The Same" offers a quasi-religious opening, and just rolls along without ever really engaging or changing gear, but you come away from it knowing you've just heard something good. Always restrained, it feels like its being held back - which may be for the best as it would to too obvious (and too messy) if it were to explode in a cacophony of thumping drum, bass and guitar soloing. Probably not single-fodder, but would sit nicely in a Live set - maybe with lighters in the air.
"The Mexican" is a melting-pot of Led Zeppelin riffage, cowbell, synth noodling - theres an almost psychedelic-funk thing going on here.
"You Know We Can't Go Back" opens on a Pink Floyd sounding shrill arpeggio, before banging into a relentless plodding rocker that really was/is what Noel (and his previous band) did best.
"You Know We Can't Go Back" opens on a Pink Floyd sounding shrill arpeggio, before banging into a relentless plodding rocker that really was/is what Noel (and his previous band) did best.
The narrative of the song "While The Song Remains The Same" re-visits his past in Manchester (a theme seemingly apparent in other tracks to (whether by design, or not, who knows?). On album closer, "The Ballad Of The Might I" re-visits a time a lot closer with a vague re-tread of "AKA ... What A Life" from the debut High Flying Birds album. What sets this offering apart is the inclusion of Johnny Marrs guitar solo, before closing the album with a flourish of synth noise.
There are moments when you feel Noel Gallagher is breaking free from the standard template, employing new sounds, instrumentation and song construction - but you get the feeling he never wants to stray too far.
On the whole, this album is a consummate piece of work, featuring some great and not so great songs. They are strung together in a way that shows that it was conceived and delivered as a whole, rather than a series of recordings thrown together and sequenced for best effect.
This second album is not as immediate as the first - there is nothing on here that makes you want to reach for the 'Skip' button, but by the same token you are not inclined to press the 'Replay' button either.
I wouldn't say I'm cock-a hoop about the album, but remain mildly satisfied - I don't think it will be consigned to the "I forgot I bought that" pile, but may not be making as many visits to the CD Player as its predecessor.
"You Know We Can't Go Back"
A title which leads neatly to (and probably answers) the ever-present question, especially in this the 20th anniversary year of "(What's The Story) Morning Glory?" - will there ever be an Oasis re-union?
There are moments when you feel Noel Gallagher is breaking free from the standard template, employing new sounds, instrumentation and song construction - but you get the feeling he never wants to stray too far.
On the whole, this album is a consummate piece of work, featuring some great and not so great songs. They are strung together in a way that shows that it was conceived and delivered as a whole, rather than a series of recordings thrown together and sequenced for best effect.
This second album is not as immediate as the first - there is nothing on here that makes you want to reach for the 'Skip' button, but by the same token you are not inclined to press the 'Replay' button either.
I wouldn't say I'm cock-a hoop about the album, but remain mildly satisfied - I don't think it will be consigned to the "I forgot I bought that" pile, but may not be making as many visits to the CD Player as its predecessor.
A title which leads neatly to (and probably answers) the ever-present question, especially in this the 20th anniversary year of "(What's The Story) Morning Glory?" - will there ever be an Oasis re-union?
Thursday, 5 March 2015
Public Service Broadcasting - The Race For Space
On 21 July 1969, Neil Armstrong first set foot on the moon (or not if you go along with the conspiracy theories).
12 months to the day later, I popped into this world.
As a result of this chronological quirk, there may be a chance that I have an in-depth knowledge and appreciation of all things space-y, astronaut-y and SciFi like.
Not a bit of it - I can appreciate the scientific and engineering advances, but I prefer SciFi when it is debunked via Airplane II, Spaceballs or Red Dwarf, or similar.
But this in no way reduced my anticipation for the new Public Service Broadcasting.
Previous release 'Inform - Educate - Entertain' took old Public Service Broadcasting Films and provided them with a soundtrack. The juxtaposition of the BBC English, plummy-voiced Announcer fighting for air-space with guitar, drums and electronic beats worked so well, the apparent strangeness of the concept was gone.
The "difficult" second album continues this conceit, and uses voice tracks recorded in the 50s/60s documenting the competition between the super-powers to get a man on the moon.
On first listen, it didn't immediately "grab" me the way 'Inform - Educate - Entertain' did, but further listening reveals more depth and cohesion than the previous release (I just needed to re-calibrate my expectations).
Opening with a John F Kennedy speech of intent to go to the moon over a haunting choir, second track "Sputnick" starts up as the applause fades. From a relatively desolate beat, the track starts slow and moody, gradually building with more sounds and atmospheres, before tailing away and launching into "Gagarin" - a throbbing funk track built around an insistent guitar riff and horn work-out.
The whole mood is brought down a notch with "Fire In The Cockpit", where you can almost feel the claustophobia and helplessness of the situation it describes.
The next track for me was the pivotal moment of the album - "EVA" opens like a collision between a Pink Floyd riff and Television for Schools and Colleges, and continues in that vein at moments sounding like TV and Film "production" music.
This is the track documents the first Space Walk, and for me encapsulates the point of the story - a statement of achievement Built around a Tubular Bells-like base, the track bounds along, and then slowly fades, before the monotonous, almost Krautrock, opening to "The Other Side".
"Valentina" retains the musical template, and adds actual vocals, courtesy of The Smoke Fairies (albiet in the form of a choir-infused atmospheric chant).
"Go" is probably the most immediate track on the album - this track marks the actual moment of the moon landing, and includes possibly one of the most famous human utterances "The Eagle Has Landed". This therefore should represent the conclusion of the story.
Or it would do, but ... the final track "Tomorrow" is a slow, almost melancholic account (complete with glockenspiel) which recounts the final Apollo mission of 1972. It may mark the end of an era, but retains the suggestion that if mankind has done it once, why not do it again.
All goes quiet for about a minute and a half, and then a rousing tone begins to rise offering a rousing, almost triumphant, conclusion to the album (although many may nor get to hear this and switch the album off at the 4:00 minute mark when "Tomorrow" seemingly ends.)
The conceit of the band remains the same - to apply a contemporary soundtrack to archive voice tracks.
Both the predecessor and this album follow this pattern. However, the tracks on 'Inform - Educate - Entertain' could be considered as stand-alone entities strung together by the idea, this album is a true concept album built around the narrative of the title.
As a result, it makes for a stronger, more complete work.
Although, I do fear for the future - there are only so many archive recordings that could lend themselves to the PSB treatment. There may be a danger of either repeating themselves, or not finding a truly emotive, or resonant, subject to base future releases upon.
Where next?
Whatever they do next, I'm sure it will be as eagerly awaited, and as well received as both full albums released to date.
Public Service Broadcasting - E.V.A.
12 months to the day later, I popped into this world.
As a result of this chronological quirk, there may be a chance that I have an in-depth knowledge and appreciation of all things space-y, astronaut-y and SciFi like.
Not a bit of it - I can appreciate the scientific and engineering advances, but I prefer SciFi when it is debunked via Airplane II, Spaceballs or Red Dwarf, or similar.
But this in no way reduced my anticipation for the new Public Service Broadcasting.
Previous release 'Inform - Educate - Entertain' took old Public Service Broadcasting Films and provided them with a soundtrack. The juxtaposition of the BBC English, plummy-voiced Announcer fighting for air-space with guitar, drums and electronic beats worked so well, the apparent strangeness of the concept was gone.
The "difficult" second album continues this conceit, and uses voice tracks recorded in the 50s/60s documenting the competition between the super-powers to get a man on the moon.
On first listen, it didn't immediately "grab" me the way 'Inform - Educate - Entertain' did, but further listening reveals more depth and cohesion than the previous release (I just needed to re-calibrate my expectations).
Opening with a John F Kennedy speech of intent to go to the moon over a haunting choir, second track "Sputnick" starts up as the applause fades. From a relatively desolate beat, the track starts slow and moody, gradually building with more sounds and atmospheres, before tailing away and launching into "Gagarin" - a throbbing funk track built around an insistent guitar riff and horn work-out.
The whole mood is brought down a notch with "Fire In The Cockpit", where you can almost feel the claustophobia and helplessness of the situation it describes.
The next track for me was the pivotal moment of the album - "EVA" opens like a collision between a Pink Floyd riff and Television for Schools and Colleges, and continues in that vein at moments sounding like TV and Film "production" music.
This is the track documents the first Space Walk, and for me encapsulates the point of the story - a statement of achievement Built around a Tubular Bells-like base, the track bounds along, and then slowly fades, before the monotonous, almost Krautrock, opening to "The Other Side".
"Valentina" retains the musical template, and adds actual vocals, courtesy of The Smoke Fairies (albiet in the form of a choir-infused atmospheric chant).
"Go" is probably the most immediate track on the album - this track marks the actual moment of the moon landing, and includes possibly one of the most famous human utterances "The Eagle Has Landed". This therefore should represent the conclusion of the story.
Or it would do, but ... the final track "Tomorrow" is a slow, almost melancholic account (complete with glockenspiel) which recounts the final Apollo mission of 1972. It may mark the end of an era, but retains the suggestion that if mankind has done it once, why not do it again.
All goes quiet for about a minute and a half, and then a rousing tone begins to rise offering a rousing, almost triumphant, conclusion to the album (although many may nor get to hear this and switch the album off at the 4:00 minute mark when "Tomorrow" seemingly ends.)
The conceit of the band remains the same - to apply a contemporary soundtrack to archive voice tracks.
Both the predecessor and this album follow this pattern. However, the tracks on 'Inform - Educate - Entertain' could be considered as stand-alone entities strung together by the idea, this album is a true concept album built around the narrative of the title.
As a result, it makes for a stronger, more complete work.
Although, I do fear for the future - there are only so many archive recordings that could lend themselves to the PSB treatment. There may be a danger of either repeating themselves, or not finding a truly emotive, or resonant, subject to base future releases upon.
Where next?
- A celebration of 1970s TV Adverts (including a trip-hop remix of the Shake n Vac advert)?
- Match Of The Day Commentary tracks from John Motson over a three-chord punk rock thrash?
- The speeches of Margaret Thatcher set to a Brian Eno inspired ambient soundscape?
Whatever they do next, I'm sure it will be as eagerly awaited, and as well received as both full albums released to date.
Public Service Broadcasting - E.V.A.
Friday, 13 February 2015
The Year So Far - AAARRRGH!
2015 got off to a fairly bad start when I decided to try abstinence for a month, and then fell into a state of anger, upset, annoyance, sickness and general listlessness from which I'm only just recovering.
Also in January, the new lighter I received for Christmas decided to pack up ("Hey ho", I thought,"it's only a lighter").
But little did I know this was just a pre-cursor for the headaches to come.
In mid-January, I took my car for a Service and MOT at the Jaguar Main Dealer - it passed, not necessarily with flying colours, but it passed. As part of the Service, the garage carried out a Vehicle Health Check, and the car was given a clean bill of health - "nothing of concern there sir" (I like this garage, because they call me "Sir" - they obviously recognise my importance in the world).
So, I was a bit miffed when 10 days later I go to accelerate, and the dashboard starts flashing at me. I pulled over, stopped, switched the engine off, re-started and all seemed fine (maybe it was just freaking out due to the cold weather).
2 days later it happens again. This time the whole engine cuts out. It still re-started but just didn't feel right.
Took it down to the local garage (I know the owner, and they don't charge Main Dealer prices). Diagnosis: "Injectors have had it, and you need a new Fuel Pump - that'll be £3grand please".
Oh, and the Main Dealer deny all culpability as the parts affected weren't part of the Service or Health Check (fair enough, but still bloody annoying)
No, no, this can't be happening!!
Thing is, you know how there is unconditional love for your children? Well, now my kids have grown up and left home *, I have passed these feelings to my dogs and my car (yes, call me shallow, but thats just the way it is).
* well, one is living with my parents because its nearer her work, and the other is with her mother because its nearer her college
In short, if there is something wrong, then I'd pretty much do anything to solve it.
So, speaking to mechanics/technicians at work they advised me to try a Specialist Garage they have used.
Phoned them up, go it booked in, got it checked, same diagnosis (without the Fuel Pump) - still expensive, but not so much wallet-aching as before. 5 days they've had it now, and I should be getting it back tomorrow.
And as if that wasn't bad enough, earlier this week I awoke to see Penguins, Eskimos and Polar Bears waddling around my house - the Central Heating has decided to pack in.
I REALLY don't need this!!
Fortunately, the addition of Homecare to the Home Insurance has proved to be a good idea. The Homecare people rode up to my house this morning, replaced a fuse in the boiler and now the house is warm.
So who says Friday 13th is unlucky?
Got my car fixed, got my heating fixed - and Mrs D has forgiven me for shouting and bawling at her about the Heating on Thursday morning (I think?).
Result all round seemingly - except I still haven't sorted out a new lighter.
As far as it is possible for a proper grumpy old sod to be content, I am actually (fairly) happy.
The Aliens - "The Happy Song"
Also in January, the new lighter I received for Christmas decided to pack up ("Hey ho", I thought,"it's only a lighter").
But little did I know this was just a pre-cursor for the headaches to come.
In mid-January, I took my car for a Service and MOT at the Jaguar Main Dealer - it passed, not necessarily with flying colours, but it passed. As part of the Service, the garage carried out a Vehicle Health Check, and the car was given a clean bill of health - "nothing of concern there sir" (I like this garage, because they call me "Sir" - they obviously recognise my importance in the world).
So, I was a bit miffed when 10 days later I go to accelerate, and the dashboard starts flashing at me. I pulled over, stopped, switched the engine off, re-started and all seemed fine (maybe it was just freaking out due to the cold weather).
2 days later it happens again. This time the whole engine cuts out. It still re-started but just didn't feel right.
Took it down to the local garage (I know the owner, and they don't charge Main Dealer prices). Diagnosis: "Injectors have had it, and you need a new Fuel Pump - that'll be £3grand please".
Oh, and the Main Dealer deny all culpability as the parts affected weren't part of the Service or Health Check (fair enough, but still bloody annoying)
No, no, this can't be happening!!
Thing is, you know how there is unconditional love for your children? Well, now my kids have grown up and left home *, I have passed these feelings to my dogs and my car (yes, call me shallow, but thats just the way it is).
* well, one is living with my parents because its nearer her work, and the other is with her mother because its nearer her college
So, speaking to mechanics/technicians at work they advised me to try a Specialist Garage they have used.
Phoned them up, go it booked in, got it checked, same diagnosis (without the Fuel Pump) - still expensive, but not so much wallet-aching as before. 5 days they've had it now, and I should be getting it back tomorrow.
And as if that wasn't bad enough, earlier this week I awoke to see Penguins, Eskimos and Polar Bears waddling around my house - the Central Heating has decided to pack in.
I REALLY don't need this!!
Fortunately, the addition of Homecare to the Home Insurance has proved to be a good idea. The Homecare people rode up to my house this morning, replaced a fuse in the boiler and now the house is warm.
So who says Friday 13th is unlucky?
Got my car fixed, got my heating fixed - and Mrs D has forgiven me for shouting and bawling at her about the Heating on Thursday morning (I think?).
Result all round seemingly - except I still haven't sorted out a new lighter.
As far as it is possible for a proper grumpy old sod to be content, I am actually (fairly) happy.
Saturday, 31 January 2015
Thank **** That's (nearly) Over
Dry January, or my own peculiar spin on it, is nearing completion.
My version of Dry January has been to deny myself the pleasure of buying new music for the course of the month. It has been an exercise in self-awareness, self-denial and extreme stupidity, which to be honest I wish I'd never embarked on.
Thing is, this is a self defeating exercise - as the calendar lurches slowly towards February 1st, I am sat, eagerly brandishing a Credit Card ready to binge on the aural pleasures I have been denying myself for the last 30 days.
(I wonder if the "No Alcohol Dry January-ers will be doing the same thing? Downing 15 pints and half a bottle of Vodka as the clock ticks past midnight? Probably not.)
The expansion of the Amazon Wish List is testament to my achievement. As is the self-control displayed when following recommendations I have landed on Spotify or YouTube, thoroughly enjoyed what I'm hearing, and not followed up with a physical purchase.
But the constant headaches, shakes and bouts of nausea have become unbearable.
Little did I realise that after that first 7" single purchase in 1981, I was on the slippery slope: Work - Get Money - Buy Music.
At the start, I would be limiting myself to 2, maybe 3 purchases, in a month. As time went on, I found myself hoarding more and more, and indulging in an increasing wide range of musical delights. I thought, like most others I'm sure, "this is not a problem, I can stop at any time". But the cravings continued, and more purchases were needed to be made to satisfy my hunger.
Through fear of temptation, I have changed walking routes to avoid Record Shops and Charity Shops. I have purposefully avoided the (often laughable) Music section in Supermarkets. And I no longer drive past the Leisure Centre for fear of seeing the bright yellow "Massive Record Fair This Weekend" sign.
But I have not waivered - it is now nearly 6 weeks since my last purchase, and I will not let these last few hours beat me. Positive Mental Attitude - I will tell myself "I Can Do It!"
(The Rubettes, 1975 - I wonder if that is available anywhere on Amazon? ... No! You must resist)
Do I feel any better for this period of abstinence? Not really, no.
Would I do it again? Absolutely Not!
My version of Dry January has been to deny myself the pleasure of buying new music for the course of the month. It has been an exercise in self-awareness, self-denial and extreme stupidity, which to be honest I wish I'd never embarked on.
Thing is, this is a self defeating exercise - as the calendar lurches slowly towards February 1st, I am sat, eagerly brandishing a Credit Card ready to binge on the aural pleasures I have been denying myself for the last 30 days.
(I wonder if the "No Alcohol Dry January-ers will be doing the same thing? Downing 15 pints and half a bottle of Vodka as the clock ticks past midnight? Probably not.)
The expansion of the Amazon Wish List is testament to my achievement. As is the self-control displayed when following recommendations I have landed on Spotify or YouTube, thoroughly enjoyed what I'm hearing, and not followed up with a physical purchase.
But the constant headaches, shakes and bouts of nausea have become unbearable.
Little did I realise that after that first 7" single purchase in 1981, I was on the slippery slope: Work - Get Money - Buy Music.
At the start, I would be limiting myself to 2, maybe 3 purchases, in a month. As time went on, I found myself hoarding more and more, and indulging in an increasing wide range of musical delights. I thought, like most others I'm sure, "this is not a problem, I can stop at any time". But the cravings continued, and more purchases were needed to be made to satisfy my hunger.
Through fear of temptation, I have changed walking routes to avoid Record Shops and Charity Shops. I have purposefully avoided the (often laughable) Music section in Supermarkets. And I no longer drive past the Leisure Centre for fear of seeing the bright yellow "Massive Record Fair This Weekend" sign.
But I have not waivered - it is now nearly 6 weeks since my last purchase, and I will not let these last few hours beat me. Positive Mental Attitude - I will tell myself "I Can Do It!"
(The Rubettes, 1975 - I wonder if that is available anywhere on Amazon? ... No! You must resist)
Do I feel any better for this period of abstinence? Not really, no.
Would I do it again? Absolutely Not!
Monday, 19 January 2015
Celebrating the conventional
Cars are one of the mainstay of Rock n Roll lyrics.
From The Beach Boys "Little Deuce Coupe", "And she'll have fun fun fun, 'Til her daddy takes the T-Bird away" to Bruce Springsteen ("Thunder Road", "Racing In The Streets(just about every song that isn't about blue collar workers and /or their relationships).
The Beatles weighed in with "Drive My Car" whilst Status Quo responded with "Don't Drive My Car".
The Clash watched as their baby drove off in a Brand New Cadillac, and Gary Numan felt safest of all in his Car.
Prince had a small red Corvette (this is not a euphemism), whilst Bruce Springsteen was resplendent in his Pink Cadillac.
Queen drummer Roger Taylor expressed his love for his vehicle, and Janis Joplin merely dreampt of owning a Mercedes Benz.
Even Marc Bolan (who couldn't drive) offered "Mustang Ford" and stated that he "drove a Rolls Royce. 'cos its good for my voice".
In terms of aftercare, all the above could've paid a visit to Rose Royce who would've given them a thorough clean at the Car Wash (they may never get rich, but its better than digging a ditch).
But what of more common, possibly less romantic car marques?
Is there a song somewhere immortalising the life changing impact of owning a Vauxhall Viva? or maybe a crooning love-letter to a Datsun Cherry?
There is however one of these lesser cherished vehicles which has made its way into popular song - step forward John Shuttleworth and his Y Registration Austin Ambassador.
Now you may laugh and think he is just a one-dimensional creation singing about the mundane, mediocre and insular moments that affect his world. But you would be wrong when you consider the heartbreak and frustration conveyed in a song such as "Two Margarines On The Go" or the quandary faced at meal times when you've eaten your main course, tucked into dessert, and then a second helping of the truly delectable main course becomes available (as outlined in "I Can't Go Back To Savoury Now")
Thursday, 8 January 2015
Marillion - Misplaced Childhood
"New" - a new or current album
"Old" - a previous release (possibly lost in the mists of time)
"New-New" - a new or current album from an artist that is unfamiliar to you (either partially (ie you know the name and what they sound like) or completely (ie never heard of them)
"New-Old" - a new or current album from an artist you know well
"Old-New" - a previous release from an artist that is unfamiliar to you
"Old-Old" - a previous release from an artist know well
This is, perhaps, a simplistic classification method. Indeed, you could further the classification with an additional "New"/"Old" referring to ownership/purchase status - but to be honest it all starts to get confusing than (as if it wasn't already?)
OK, the last 12 months has thrown up a variety of "New-New" and "Old-New", and I've now run out of "New-Old". So now it time for "Old-Old".
The next step is to stand in front of the shelves for a minute and wait for inspiration.
First off the racks:
Marillion - Misplaced Childhood
Aylesbury may sound like a non-descript, mudane, home-counties town, but was home to one of the most popular live venues (Friars, which has hosted performances by Free, Mott The Hoople, David Bowie, Genesis, The Police, Stiff Little Fingers and many many others). It is also the hometown of John Otway, and in 1979 spawned the first incarnation of Marillion.
Formed in 1979 and taking their name from a J R R Tolkien book (how much more Prog can you get?) bu guitarist Steve Rothery and drummer Mick Pointer. Derek Dick (better known as Fish to save sniggering at his surname) joined on vocals in 1981. Mark Kelly (keyboards) and Pete Trewavas (bass) completed the line-up.
The band played Genesis/Pink Floyd/Van Der Graff Generator/Peter Hammill infused Prog Rock - probably not the wisest move against a backdrop of NWOBHM, Post-Punk New Wave, New Romantics and developing Synthesiser music and increased studio production techniques.
Probably not an immediately obvious recipe for success, but exposure, and positive reaction, on Tommy Vance's Friday Rock Show led to EMI taking a punt.
First single "Market Square Heroes" was released in late 1982. Whilst the A-Side was more of an anthemic (almost air-punching) rock track, the B Side showed Proggy-pretensions with the 17 minute "Grendel".
Their debut album 'Script For A Jesters Tear' came out in early 1983 and continued the musical backdrop - 6 tracks around the 7 or 8 minute mark was not necessarily the order of the day for most albums in 1983. For the two singles culled from the album ("He Knows You Know" (the shortest track at 5:30) and "Chelsea Monday" it was necessary to edit the songs down to 4 minutes to make them palatable for radio play.)
The second album was titled 'Fugazi' (1984) - the name can be translated as being derived from fugacious meaning fading or transient, or a military slang term for f**ked up.
This is perhaps a reflection of the lead up to the recording of the album with original drummer Mick Pointer leaving, and a succession of drummers auditioned before Ian Mosely got the job, and the number of studios utlised in order to get the job finished.
This album squeezes in 7 tracks, but is ultimately not as good as the debut. It just doesn't feel as focussed as the debut. Later in the year though, the Live album 'Real to Reel' was released which showed just how strong the band were on stage.
Also on this tour, Fish announced that the bands next album was to have only two tracks, entitled "Side One" and "Side Two".
The outline story/concept was the result of a 12 hour acid trip, where Fish faced up to lost childhood memories, failed relationships, the impact of becoming successful, loss of inspiration and, as is the way with all good stories, ultimate redemption. Effortlessly strung together, and featuring recurring musical motifs. Drop the needle and Side One, Track One and you'll be happy to stay until the end of Side 2, Track 5 - it is a great way to spend 40 minutes, and on CD it feels even more seamless.
At the outset, EMI expressed concern about the bad going all "70s Prog" and recording a concept album. These fears were alleviated when initial single "Kayleigh" hit number 2 in the UK Singles Chart.
The album starts with a spoken passage which (sort of) outlines the story, before the now familiar guitar opening for lead single "Kayleigh". This segues into the second single "Lavender" (which also hit the Top 10). In a departure for Marillion, this song had to be extended to make it into a single.
"Bitter Suite" is a 5 part movement combining atmospheric music (there is a touch of the Pink Floyd about it) under spoken poetry ("Brief Encounter"), developing into sung lyric ("Lost Weekend") before reprising the guitar motif from "Lavender", the melody (or a close approximation) is also revisited for "Blue Angel". "Misplaced Rendezvous" tells a downbeat tale of a lost relationship, before rolling into another spoken passage which serves as an intro to the third single lifted from the album, "Heart Of Lothian". This is a nationalistic track, and perhaps the strongest of the straight-ahead rock songs on the album. Personally, I think it is the strongest of he three lifted singles, but performed the worst (shows you what I know then?).
(if you haven't got a CD player, now is the time to get up and turn the record over (unless you've got one of those super-duper, fangly-dangly 1980s record players which could play both sides with no human intervention)
An atmospheric keyboard introduction followed by pummeling drums opens up into a full on rock song with impassioned, almost snarling vocals, crashing cymbals and guitar histrionics. "Lords Of The Backstage" kicks in maintaining the rock sound, although the vocal is more toned down. Cynically, the instrumental nature of the song feels like it was written as purely a linking passage with lyrics added to keep the momentum of the story. This may not be the case, but it does segue into "Blind Curve", possibly the most complex and ambitious and potentially epic track on the album.
Again built on 5 parts. "Vocal Under A Bloodlight" is another tale of lost (or possibly unrequited love). "Passing Strangers" is another brief tale in a similar vein. This is followed by a truly magnificent Steve Rothery guitar solo lasting near a whole minute - at no point does a note sound out of place or forced. The next part "Mylo" is a song of loss, based on a the death of a close friend. Towards the end you can feel the confusion growing in the mind (and the voice) of the narrator.
"Perimeter Walk" is slower-paced with some shrill picked guitar, and moody atmospherics. The lyrics sit below the music and are dark and moody, yearning for a lost childhood, before erupting into "Threshold", which questions whether the return of childhood in such a hostile world is a good thing?.
There is a familiar guitar refrain, and more picking guitars lead into "Childhoods End" - the point here being redemption, and the realisation that childhood is not lost, it continues to reside inside ("There is no childhoods end").
"White Feather" rounds of the album on a high - a call to arms following the tried an trusted "together we stand" principle. The album fades on the refrain "I can't walk away no more".
EMI's reservations were perhaps true when they feared an overblown, prog concept album, with a potentially confusing story would die a death when placed before the public. Well, in this case those reservations were entirely misplaced (geddit?), when the album was lapped up by the public and hit Number 1, topping 300,000 sales by the end of the year and continuing to be the bands most bankable album (not that they earn that much from it) - worldwide sales are estimated to be in excess of 2,000,000. Not bad for a niche band, playing the sort of music that was supposed to be killed off by Punk in 1977.
Childhoods End? / White Feather
"Old" - a previous release (possibly lost in the mists of time)
"New-New" - a new or current album from an artist that is unfamiliar to you (either partially (ie you know the name and what they sound like) or completely (ie never heard of them)
"New-Old" - a new or current album from an artist you know well
"Old-New" - a previous release from an artist that is unfamiliar to you
"Old-Old" - a previous release from an artist know well
This is, perhaps, a simplistic classification method. Indeed, you could further the classification with an additional "New"/"Old" referring to ownership/purchase status - but to be honest it all starts to get confusing than (as if it wasn't already?)
OK, the last 12 months has thrown up a variety of "New-New" and "Old-New", and I've now run out of "New-Old". So now it time for "Old-Old".
The next step is to stand in front of the shelves for a minute and wait for inspiration.
First off the racks:
Marillion - Misplaced Childhood
Formed in 1979 and taking their name from a J R R Tolkien book (how much more Prog can you get?) bu guitarist Steve Rothery and drummer Mick Pointer. Derek Dick (better known as Fish to save sniggering at his surname) joined on vocals in 1981. Mark Kelly (keyboards) and Pete Trewavas (bass) completed the line-up.
The band played Genesis/Pink Floyd/Van Der Graff Generator/Peter Hammill infused Prog Rock - probably not the wisest move against a backdrop of NWOBHM, Post-Punk New Wave, New Romantics and developing Synthesiser music and increased studio production techniques.
Probably not an immediately obvious recipe for success, but exposure, and positive reaction, on Tommy Vance's Friday Rock Show led to EMI taking a punt.
First single "Market Square Heroes" was released in late 1982. Whilst the A-Side was more of an anthemic (almost air-punching) rock track, the B Side showed Proggy-pretensions with the 17 minute "Grendel".
Their debut album 'Script For A Jesters Tear' came out in early 1983 and continued the musical backdrop - 6 tracks around the 7 or 8 minute mark was not necessarily the order of the day for most albums in 1983. For the two singles culled from the album ("He Knows You Know" (the shortest track at 5:30) and "Chelsea Monday" it was necessary to edit the songs down to 4 minutes to make them palatable for radio play.)
The second album was titled 'Fugazi' (1984) - the name can be translated as being derived from fugacious meaning fading or transient, or a military slang term for f**ked up.
This is perhaps a reflection of the lead up to the recording of the album with original drummer Mick Pointer leaving, and a succession of drummers auditioned before Ian Mosely got the job, and the number of studios utlised in order to get the job finished.
This album squeezes in 7 tracks, but is ultimately not as good as the debut. It just doesn't feel as focussed as the debut. Later in the year though, the Live album 'Real to Reel' was released which showed just how strong the band were on stage.
Also on this tour, Fish announced that the bands next album was to have only two tracks, entitled "Side One" and "Side Two".
The outline story/concept was the result of a 12 hour acid trip, where Fish faced up to lost childhood memories, failed relationships, the impact of becoming successful, loss of inspiration and, as is the way with all good stories, ultimate redemption. Effortlessly strung together, and featuring recurring musical motifs. Drop the needle and Side One, Track One and you'll be happy to stay until the end of Side 2, Track 5 - it is a great way to spend 40 minutes, and on CD it feels even more seamless.
At the outset, EMI expressed concern about the bad going all "70s Prog" and recording a concept album. These fears were alleviated when initial single "Kayleigh" hit number 2 in the UK Singles Chart.
The album starts with a spoken passage which (sort of) outlines the story, before the now familiar guitar opening for lead single "Kayleigh". This segues into the second single "Lavender" (which also hit the Top 10). In a departure for Marillion, this song had to be extended to make it into a single.
"Bitter Suite" is a 5 part movement combining atmospheric music (there is a touch of the Pink Floyd about it) under spoken poetry ("Brief Encounter"), developing into sung lyric ("Lost Weekend") before reprising the guitar motif from "Lavender", the melody (or a close approximation) is also revisited for "Blue Angel". "Misplaced Rendezvous" tells a downbeat tale of a lost relationship, before rolling into another spoken passage which serves as an intro to the third single lifted from the album, "Heart Of Lothian". This is a nationalistic track, and perhaps the strongest of the straight-ahead rock songs on the album. Personally, I think it is the strongest of he three lifted singles, but performed the worst (shows you what I know then?).
(if you haven't got a CD player, now is the time to get up and turn the record over (unless you've got one of those super-duper, fangly-dangly 1980s record players which could play both sides with no human intervention)
An atmospheric keyboard introduction followed by pummeling drums opens up into a full on rock song with impassioned, almost snarling vocals, crashing cymbals and guitar histrionics. "Lords Of The Backstage" kicks in maintaining the rock sound, although the vocal is more toned down. Cynically, the instrumental nature of the song feels like it was written as purely a linking passage with lyrics added to keep the momentum of the story. This may not be the case, but it does segue into "Blind Curve", possibly the most complex and ambitious and potentially epic track on the album.
Again built on 5 parts. "Vocal Under A Bloodlight" is another tale of lost (or possibly unrequited love). "Passing Strangers" is another brief tale in a similar vein. This is followed by a truly magnificent Steve Rothery guitar solo lasting near a whole minute - at no point does a note sound out of place or forced. The next part "Mylo" is a song of loss, based on a the death of a close friend. Towards the end you can feel the confusion growing in the mind (and the voice) of the narrator.
"Perimeter Walk" is slower-paced with some shrill picked guitar, and moody atmospherics. The lyrics sit below the music and are dark and moody, yearning for a lost childhood, before erupting into "Threshold", which questions whether the return of childhood in such a hostile world is a good thing?.
There is a familiar guitar refrain, and more picking guitars lead into "Childhoods End" - the point here being redemption, and the realisation that childhood is not lost, it continues to reside inside ("There is no childhoods end").
"White Feather" rounds of the album on a high - a call to arms following the tried an trusted "together we stand" principle. The album fades on the refrain "I can't walk away no more".
EMI's reservations were perhaps true when they feared an overblown, prog concept album, with a potentially confusing story would die a death when placed before the public. Well, in this case those reservations were entirely misplaced (geddit?), when the album was lapped up by the public and hit Number 1, topping 300,000 sales by the end of the year and continuing to be the bands most bankable album (not that they earn that much from it) - worldwide sales are estimated to be in excess of 2,000,000. Not bad for a niche band, playing the sort of music that was supposed to be killed off by Punk in 1977.
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