NICE TO HEAR AGAIN #4
Dream Syndicate / The Days Of Wine And Roses 2001 CD reissue - It's been a while since I listened to this album, but again I'm reminded of just how good it is. All that youthful energy! 'The Days Of Wine And Roses' is a mix of Velvet Underground and 1965 era Bob Dylan, faithfully capturing the rawness of both. How can I fault an album that has 'Halloween', 'That's What You Always Say', 'Tell Me When It's Over' and 'When You Smile' on it? This older reissue of the album also includes the other release by the lineup of Dream Syndicate Mark I – the 'Down There EP', plus rehearsal takes and the earlier Wynn project 15 Minutes. Hearing these again brings back memories of collecting records in the 80s and tracking down releases such as these. There was always one pre-Dream Syndicate related rarity that remained elusive - the single by The Suspects, a new wave/punk outfit featuring Steve Wynn and Kendra Smith. A few years later, when I was helping out with programme research at a London radio station, Steve Wynn came in for a session. I mentioned to him I was missing the Suspects single and he asked for an address to send a copy to - he had a few spare! Lo and behold, a few weeks later an unplayed copy landed on my doormat sent from New York. I'll never forget that gesture and kindness. Thanks once more Steve.
Julian Cope & Donald Ross Skinner / Rite CD 1992 krautrock inspired instrumental album that's always pleasant to lose yourself in. I'd recommend it to anyone who enjoys the forays into the genre by Fruits De Mer. The other mail order Copey releases from the 90s on Head Heritage remain an interesting listen as well - 1997's 'Rite (Squared)' and 1999's 'Odin'. Oh, those pre-internet days of receiving picture postcards of stone circles and other ancient monuments sent by The Drude in the post to announce another 'out there' release! I've kept them all...
Triffids / In The Pines CD I woke up the other morning with 'One Soul Less On Your Fiery List' in my head, so I dug out this album once more. I like these 'informal' recordings that make up 'In The Pines'. It's a sneak peek into rehearsal sessions while the band tries out new song ideas. The mid 80s were a prolific songwriting period for the band. A few of the tracks here were later fully developed for the 1987 Island label debut 'Calenture'. David McComb was a real talent as a songwriter and sadly missed. He possessed an interesting and versatile voice, one that could growl or soar. Very emotional.
Waterboys / Fisherman's Box CD set I followed Mike Scott on his quest for the 'big music' in the early to mid 80s. The Waterboys sound grew more and more expansive with each album, but after 1985s 'This Is The Sea' something changed. I remember watching 'The Tube' one night in 1986 and The Waterboys performed 'Fisherman's Blues' and the gospel song 'Meet Me At The Station' - a different musical direction altogether, or was it? Scott had relocated to Ireland and also gone back to the roots. The result was 1988s 'Fisherman's Blues' album. I liked it, but initially felt he was retreating from something. Maybe it was the thought of being considered 'stadium rock' from now on and this scared him a little? U2 could rest easy anyway. Fast forward to 2013 and the appearance of this dinky boxed set of 6 CDs – the complete 'Fisherman's Blues' sessions. I couldn't resist it. The amount of material on offer for such a 'back to basics' album! It's an explosion of creativity, very much like The Triffids went through during 'In The Pines' period. I can't hear enough of the near 26 minute version of the gospel song 'Soon As I Get Home'. The Waterboys strip it back and let it flow where it will. A trance-like prayer. Wonderful. The whole set is a melting pot of traditional Irish music, Van Morrison, Bob Dylan, Hank Williams, blues, country, gospel. Fascinating listening. The listener can trace the evolution of songs that eventually made the album, listen to the many cover versions that provided inspiration and also enjoy fun had by all along the way. Quite a trip, but beneath it all is still, I believe, the 'big music'. I think Mike Scott finally found it. It's in 'Higherbound', 'Fisherman's Blues', 'Strange Boat' and many more songs on this set. It was in Ireland and somewhere in 'Astral Weeks'. That's my theory anyway. Music on another level. Spiritual.
TURN OFF YOUR MIND, RELAX AND FLOAT DOWNSTREAM..
I've always enjoyed finding music I can lose myself in ever since hearing 'Strawberry Fields Forever' for the first time and suddenly feeling myself transported into another world. I listened to that song over and over, completely mesmerized by it and in awe that such music could even exist. Where did it come from? There was nothing else like it and it's still my favourite song, ever. Thankfully, there are still further discoveries to be made for a temporary getaway via music and a new one for me is the 3 disc set of Jake Stephenson's works 'Space Is High'.
There is a lot of music to be heard on this selection of mainly chill-out recordings, but more than once now I've listened to the whole set from start to finish and the time, well, appears to diminish. Suddenly three discs have played through but it feels like just one. Einstein probably had a formula for this. Trance-inducing then? Most certainly. Time to zero-in, or zero-out further...
Many of the titles and aliases Jake used are intriguing, so I decided to choose whatever caught my imagination, beginning (bravely) with the most interesting title - Alien Mutation's 'Ambience to Addle Your Brain', also the longest piece of the collection at 24 and a half minutes. I could hear birdsong, the coast, then forests, railroads and even industry all merging into one another – or could I? A lot seems to be happening, but then, maybe not. I suppose the title says it all. It's the track I've listened to the most since, so what that says about me I need to find out. I think Jake had a lot of fun composing it, very clever! Optic Eye's 'Crystal Moon' is less disturbing, with a gentle rhythm to latch onto and a much needed mind leveller after 'Addle', but now how about Jake's collaboration with Matt Hillier, also named, perhaps confusingly, Crystal Moon and 'Sea Of Mermaids'? This is really my kind of kick back, just gentle waves of sound passing and leaving me with a peaceful (easy) feeling. Closing my eyes and I'm now with White Star in the 'The Lost Forest' ah, the sound of nature. Lovely. I've decided that it's the drifting, sweeping sounds I'm drawn to most on this collection, such as on 'Sunrise', which also reminds me of the more recent work from exedra. I feel a little uncomfortable with some of the beats used in modern music, I seem out of sync with them - just gimme that 'four to the floor' anytime – so with this set I've tended to prefer the more ambient pieces. Having said that, 'Space Is High' by Ganja Beats was a happy compromise to stumble upon! Ah, such a sensitive soul, eh? It's only because I've learned to be careful when listening to electronic/synthesized sounds after an unsettling experience a few years ago...
I was working at a music importer and we were listening to an album by Klaus Schulze. Unfortunately I can't recall the title now, but it wasn't one I knew – another prolific artist! Suddenly, I began to develop a 'heady' feeling. Like a lot of people into music, when I hear it , that's it, I can't place it in the background, I focus on it entirely. It's a distraction. This can sometimes be annoying, not to mention dangerous! It's not pleasant when I don't particularly enjoy what I'm hearing either, or the earworm afterwards as well! Usually I enjoy listening to Klaus Schulze, but on this occasion there must have been a particular frequency, tone, or rhythm that didn't agree with the wiring in my brain and the 'headiness' became a migraine, so much so that I had to step outside to recover. I'm one of the lucky ones, I never suffer, or have suffered from headaches and thankfully this 'turn' hasn't happened since, but there are still times when listening to electronica when that uneasiness between the temples returns. I could feel it a couple of times while listening to this collection, but fortunately the sensation didn't develop and passed quickly...
In a roundabout way, I'm giving 'Space is High' the thumbs up, but I also applaud Keith for sticking his neck out once again to keep releases interesting - he remains fearless! The Strange Fish imprint I find is a fascinating offshoot of FdM, it offers a chance to hear the more unusual and 'Space Is High' has definitely been a new listening experience for me. I'm not finished with it yet either!
Did I mention the word fearless? What a convenient link to Pink Floyd and another recent release of vast soundscapes – 'Pink Floyd At Pompeii MCMLXXII'! I've never owned the audio version of 'Pompeii', so when I read about a forthcoming new mix, well, I had to have a copy. The musical horizons for the band were beginning to widen at this time and what a spectacular setting for this performance too! Most other Floyd concerts from 1971 that I've heard usually feature 'Atom Heart Mother' and 'Fat Old Sun', but I suppose these were probably considered too 'pastoral' for a gig in the ruins of a Roman amphitheatre! 'Eugene', 'Saucerful' and 'Set The Controls..' remain and probably more suited. There's also the addition of an aptly dramatic 'One Of These Days' and all are bookended by the epic 'Echoes'. The odd track out is 'Mademoiselle Nobs' (aka 'Seamus'), but thankfully this is just under two minutes in length and doesn't detract from the overall performance. Pink Floyd were never convincing as a blues band, only Dave Gilmour had a feel for the form and around this time, at some of those shows I've heard, he really did try hard to engage the rest of the band in a 12 bar jam. Bless him! This is a minor gripe, as this release really does capture the band well and you get the feeling that there's something big about to happen for them, particularly if the then recent 'Echoes' is anything to go by. Wait though, there's more – a second disc featuring an alternate take of 'Eugene' and the unedited 'Saucerful'. Not really essential in my opinion, but for completeness I guess. A release destined to feature in the year-end lists.
The 'Pompeii' set and version of 'Saucerful Of Secrets' had me listening once more to a couple of recent charity shop finds of mine – 'The Essential Philip Glass' and Peter Gabriel's 'Passion' (Music for 'The Last Temptation Of Christ' film by Martin Scorsese). 'Bed' by the Philip Glass Ensemble and taken from the opera 'Einstein On The Beach', sends me elsewhere every time. Opera? I know, I surprise myself sometimes as well, but this short, sparse track featuring just a high wordless female voice and organ accompaniment recalls for me the wonderful 'Saucerful' coda. A beautiful, perhaps even haunting piece that crushes any preconceptions - try it! The images from the Pompeii performance were what drew me back to the music on 'Passion'. How well Gabriel captures another possibly hot and dusty setting, but in sound. Once again, it's those sweeping and drifting sounds for me - listen to 'Of These, Hope' and its reprise. Ah...bliss...that's until reality next beckons...
There is a lot of music to be heard on this selection of mainly chill-out recordings, but more than once now I've listened to the whole set from start to finish and the time, well, appears to diminish. Suddenly three discs have played through but it feels like just one. Einstein probably had a formula for this. Trance-inducing then? Most certainly. Time to zero-in, or zero-out further...
Many of the titles and aliases Jake used are intriguing, so I decided to choose whatever caught my imagination, beginning (bravely) with the most interesting title - Alien Mutation's 'Ambience to Addle Your Brain', also the longest piece of the collection at 24 and a half minutes. I could hear birdsong, the coast, then forests, railroads and even industry all merging into one another – or could I? A lot seems to be happening, but then, maybe not. I suppose the title says it all. It's the track I've listened to the most since, so what that says about me I need to find out. I think Jake had a lot of fun composing it, very clever! Optic Eye's 'Crystal Moon' is less disturbing, with a gentle rhythm to latch onto and a much needed mind leveller after 'Addle', but now how about Jake's collaboration with Matt Hillier, also named, perhaps confusingly, Crystal Moon and 'Sea Of Mermaids'? This is really my kind of kick back, just gentle waves of sound passing and leaving me with a peaceful (easy) feeling. Closing my eyes and I'm now with White Star in the 'The Lost Forest' ah, the sound of nature. Lovely. I've decided that it's the drifting, sweeping sounds I'm drawn to most on this collection, such as on 'Sunrise', which also reminds me of the more recent work from exedra. I feel a little uncomfortable with some of the beats used in modern music, I seem out of sync with them - just gimme that 'four to the floor' anytime – so with this set I've tended to prefer the more ambient pieces. Having said that, 'Space Is High' by Ganja Beats was a happy compromise to stumble upon! Ah, such a sensitive soul, eh? It's only because I've learned to be careful when listening to electronic/synthesized sounds after an unsettling experience a few years ago...
I was working at a music importer and we were listening to an album by Klaus Schulze. Unfortunately I can't recall the title now, but it wasn't one I knew – another prolific artist! Suddenly, I began to develop a 'heady' feeling. Like a lot of people into music, when I hear it , that's it, I can't place it in the background, I focus on it entirely. It's a distraction. This can sometimes be annoying, not to mention dangerous! It's not pleasant when I don't particularly enjoy what I'm hearing either, or the earworm afterwards as well! Usually I enjoy listening to Klaus Schulze, but on this occasion there must have been a particular frequency, tone, or rhythm that didn't agree with the wiring in my brain and the 'headiness' became a migraine, so much so that I had to step outside to recover. I'm one of the lucky ones, I never suffer, or have suffered from headaches and thankfully this 'turn' hasn't happened since, but there are still times when listening to electronica when that uneasiness between the temples returns. I could feel it a couple of times while listening to this collection, but fortunately the sensation didn't develop and passed quickly...
In a roundabout way, I'm giving 'Space is High' the thumbs up, but I also applaud Keith for sticking his neck out once again to keep releases interesting - he remains fearless! The Strange Fish imprint I find is a fascinating offshoot of FdM, it offers a chance to hear the more unusual and 'Space Is High' has definitely been a new listening experience for me. I'm not finished with it yet either!
Did I mention the word fearless? What a convenient link to Pink Floyd and another recent release of vast soundscapes – 'Pink Floyd At Pompeii MCMLXXII'! I've never owned the audio version of 'Pompeii', so when I read about a forthcoming new mix, well, I had to have a copy. The musical horizons for the band were beginning to widen at this time and what a spectacular setting for this performance too! Most other Floyd concerts from 1971 that I've heard usually feature 'Atom Heart Mother' and 'Fat Old Sun', but I suppose these were probably considered too 'pastoral' for a gig in the ruins of a Roman amphitheatre! 'Eugene', 'Saucerful' and 'Set The Controls..' remain and probably more suited. There's also the addition of an aptly dramatic 'One Of These Days' and all are bookended by the epic 'Echoes'. The odd track out is 'Mademoiselle Nobs' (aka 'Seamus'), but thankfully this is just under two minutes in length and doesn't detract from the overall performance. Pink Floyd were never convincing as a blues band, only Dave Gilmour had a feel for the form and around this time, at some of those shows I've heard, he really did try hard to engage the rest of the band in a 12 bar jam. Bless him! This is a minor gripe, as this release really does capture the band well and you get the feeling that there's something big about to happen for them, particularly if the then recent 'Echoes' is anything to go by. Wait though, there's more – a second disc featuring an alternate take of 'Eugene' and the unedited 'Saucerful'. Not really essential in my opinion, but for completeness I guess. A release destined to feature in the year-end lists.
The 'Pompeii' set and version of 'Saucerful Of Secrets' had me listening once more to a couple of recent charity shop finds of mine – 'The Essential Philip Glass' and Peter Gabriel's 'Passion' (Music for 'The Last Temptation Of Christ' film by Martin Scorsese). 'Bed' by the Philip Glass Ensemble and taken from the opera 'Einstein On The Beach', sends me elsewhere every time. Opera? I know, I surprise myself sometimes as well, but this short, sparse track featuring just a high wordless female voice and organ accompaniment recalls for me the wonderful 'Saucerful' coda. A beautiful, perhaps even haunting piece that crushes any preconceptions - try it! The images from the Pompeii performance were what drew me back to the music on 'Passion'. How well Gabriel captures another possibly hot and dusty setting, but in sound. Once again, it's those sweeping and drifting sounds for me - listen to 'Of These, Hope' and its reprise. Ah...bliss...that's until reality next beckons...