"This is music. And it's music that matters." (Pete Postlethwaite (1946-2011) - 'Brassed Off', 1996)
Thursday, 1 March 2012
Happy Saint David's Day
Saturday, 18 February 2012
Pod 26: Not A Word!
I've scoured my hard drives and come up with a small, yet interesting selection of instrumental tunes. These are all 'proper' instrumentals rather than instrumental versions and, despite the absence of words, there are some top-notch tracks here including one or two you may be familiar with (if not the versions featured).
1. Plank! La Luna [2010, Plank! EP]
What I know about Plank! you could write on a postage stamp. I think they're from Manchester and they've released just one single and an EP. The only other thing I can tell you is that 'La Luna' is a brilliant track. That rolling bass line in particular gets me every time.
2. Stereolab Get Carter [1998, Aluminium Tunes]
Stereolab were never averse to a good instrumental tune. Here, they take on the theme to the classic (though oddly much maligned at the time) British gangster movie Get Carter. 'Tis one that has been tackled numerous times with the likes of the Horrors, the Human League and Primal Scream all having a go, though Roy Budd's original is hard to beat.
3. Rico Rodriguez Gunga Din [1976, Man From Wareika]
The word 'legend' just doesn't do trombonist Rico Rodriguez justice - he's so much more than that. He was there at the birth of ska in the late 50s and has been a part of the evolving Jamaican music scene ever since, desipte moving to London in the 1960s. Prominent in the UK ska revival in the early 80s (as a part-time member of the Specials), Rico still performs at the age of 77.
4. Senseless Things Apache [1992, Ruby Trax (NME charity album)]
London's Senseless Things released some dead-good singles in the early 90s, in particular 'Got It At The Delmar' and 'Homophobic Asshole'. This contribution to NME's charity covers album 'Ruby Trax' demonstrated the heavier sound of their third album. The Shadows never did it this way. Take it away Hank...
5. Julianna Barwick Prizewinning [2011, The Magic Place]
A dubious inclusion some might think. Why? Because Julianna Barwick's instrument of choice is... her voice. The majority of sounds on her debut record The Magic Place were made vocally, though she doesn't necessarily 'sing'. It's an intriguing twist to the instrumental which is why I've included one of her tracks here.
6. BB King Just Like A Woman [(c.1961/2) 1991, Spotlight On Lucille)
In the early 60s, BB King recorded a number of instrumental songs over various studio sessions. Many of them lay unreleased for many years until compiled in 1991 on Spotlight On Lucille (Lucille being his guitar). It's a record that really does highlight the skills of the great man, illustrating why he is revered as one of the most important R&B and blues musicians of all time.
7. The Ventures Nutty/Rock Nuts [1966, Where The Action Is]
Officially the most successful instrumental band ever. The Ventures have sold in excess of 100 million records and are cited as one of the most influential acts on modern rock music with everyone from George Harrison, Ray Davies and Jimmy Page to Stevie Ray Vaughan, Brian May and the Ramones citing them as inspiration. This is a song that bore two titles depending on the version and is a take on Tchaikovsky's 'Nutcracker Suite'.
8. Amiina Mambó [2010, Puzzle]
Originally an all-female string quartet who performed with Sigur Rós, Amiina have since become a 'proper' band utilising a multitude of instruments and, more recently, their voices. Amiina were the very last act to collaborate with the late, great Lee Hazlewood (on the track 'Hilli') prior to his passing in 2007. This track is taken from their second album.
9. Y Niwl Wyth [2010, Y Niwl]Yes, a Welsh surf-guitar band. You may not believe it but Wales has a thriving surf scene. It's not Hawaii or Bondai Beach - it's a darn-sight chillier for starters - but true surfers don't let that worry them. With Y Niwl (translation: The Fog), a band who recently both supported and backed Gruff Rhys, they now have a band to provide their soundtrack.
10. Bob Crewe & Charles Fox The Sex Machine [1968, Barbarella!!! Soundtrack]
Sophia Loren turned down the part of Barbarella, while Jane Fonda wished she had. Or so the story goes. A critical and commercial failure at the time, Barbarella!!! has since found cult status among those of us who like camp, tongue-in-cheek psychedelic nonsense. Its soundtrack tickles too, a cross between lounge music and psychedelia, but it's entirely fitting. This track soundtracks the Excessive Machine scene which acts as a splendid example of what this daft movie was about. (You will need to sign into YouTube as for some reason it's deemed a little 'saucy'...)
'Nuff said - now listen!
Wednesday, 8 February 2012
Pod 25: Mix-Up
This is something of an experiment. Remixes are, by-and-large, a rather hit and miss affair. Sometimes they work so well, they eclipse the original version. Other times, they're just, well, nonsense really, baring no resemblence whatsoever to the track it claims to be a version of.
For this podcast, I've strung together a selection of remixes that, while they may not all belong in the former camp, they're far from the latter. There's nothing to link them thematically, but like all my pods (I hope) they offer some diversity in the artists, the styles, and in this case, the new treatments given to the original works.
Bear in mind I'm no pro when it comes to this sort of thing, I just wanted to try something a bit different. Don't expect seamless mixes with the beats of one track flowing almost unnoticeably into the next. This ain't no dancefloor filler neither and it was never meant to be. In fact I tend to shy away from dance mixes - they're so 1990s, aren't they?!
1. Elbow Not a Job (Deadly Avenger Divine Wind remix) [2004, 12" promo]
Damon Baxter, aka Deadly Avenger, worked with a number of indie bands including the Charlatans, Travis and the Manic Street Preachers before he became one of the most in-demand producers and composers in the country. Following commissions a-plenty for adverts, movie trailers and TV shows, he recently released the album Blossoms & Blood. Here, he treats one of my fave Elbow tracks to a feast of electronic wizardry.
2. Lykke Li Knocked Up (Lykke Li vs Rodeo remix) [2008, b-side of 'Use Somebody']
This version of 'Knocked Up' - the opener of King's of Leon's third record - combines both Lykke Li's cover and the original. Mixed by Death to the Throne (DJ and producer James Martin Nelson from Phoenix, AZ.), it is actually a remix of the Swedish indie starlet's cover featuring added elements of the original.
3. Grizzly Bear Cheerleader (Neon Indian Studio 6669 remix) [2009, digital release]
One of the standouts of the Brooklyn psyche-folk outfit Grizzly Bear's highly-lauded third album was 'Cheerleader'. Neon Indian mainman Alan Palomo made two remixes of the track, one wildly psychedelic, the other a more melodic affair. This is the latter and taking nothing away from the original, it is a fantastic version.
4. Ania Zostań (DJ JW remix) [2010, digital release]
I know very little about the remixer of this track having found the track on You Tube. I think (s)he might be Polish, like Ania Dąbrowska whose recent stint as a judge on a Polish TV talent show seems to have delayed the advent of any new material. I like the hip-hop beats in this version, they work really well, and thankfully, there's no rap in the middle of it.
5. Johnny Cash Country Boy (Sonny J Remix) [2008, Cash Remixed]
The prospect of a whole album of remixes of Johnny Cash songs should have made the purists quiver with fear and rage. Many of the results, however, were actually pretty decent. 'Country Boy' originally featured on Johnny's 1957 debut album 'Johnny Cash With His Hot And Blue Guitar'. This brilliant version by Scouser Sonny J reminds me a lot of Junkie XL's treatment of Elvis' 'A Little Less Conversation'.
6. Kirsty MacColl Angel (Apollo 440 remix [edit]) [1993, b-side of 'Angel']
It's almost sacrilege to tamper with anything the late great Kirsty MacColl ever touched. But Apollo 440 actually do a really nice job with this ambient reworking of her 1993 single 'Angel'. That voice is still intact, resulting in goosebumps and moistening eyes (for me at least).
7. Manic Street Preachers Jackie Collins Existential Question Time (St. Etienne remix) [2009, Journal For Plague Lovers Remixes]
When does a remix become a cover version? Well, here's an example. The Manics released this on their remix version of the 'Journal For Plague Lovers' album, but it's practically a Saint Etienne cover with barely anything of the original in evidence (the Welsh flag is therefore used here loosely!) I am glad, however, that Sarah Cracknell replaced the profanity in the lyrics with 'does'. Somehow to hear her swear just wouldn't be right.
8. Grinderman Worm Tamer (A Place to Bury Strangers remix) [2011, b-side of 'Worm Tamer']
A phenomenal remix of Grinderman's scariest track by New York noiseniks A Place To Bury Strangers. It hurtles along at breakneck speed deafening everything in its wake, bringing this remix special to a dangerously chaotic climax.
Saturday, 28 January 2012
Pod 24: re:Covering 3
This might be one of my last posts. If the disheartening response I had to my last effort wasn't enough, the Feds are now shutting down the cyberlockers. Mediafire is still up and running but for how long is anyone's guess. If it goes, so will this blog.
Webbie from Football & Music and #keepingitpeel once again offered some words of encouragement after my last post/tantrum (Gawd bless 'im), but he's the only one who bothered. Therefore, Pod 23: Occupied!! will remain unreleased, so there!
Instead, here's a new covers podcast. I might have another one up my sleeve, plus a couple more I'm piecing together (a remix one and an instrumental one). If I get round to finishing them and putting them up, grab 'em while you can. In the meantime, enjoy this odd selection of reinterpretations and tributes. A few, erm, intriguing bits on this one...
1. The Ukrainians Koroleva Ne Polerma (The Queen Is Dead) [1992, Pisni Iz The Smiths EP]
As it's Diamond Jubilee year, I thought we'd start the celebrations here. In the midst of one of the deepest recessions the world has known, where hundreds of people have lost or are losing their jobs and homes, where pensions are being cut, public services decimated, prices of even the most basic necessities are continuing to soar, it is deemed suitable to celebrate the uncontested 60-year reign of the UK's wealthiest person by spending millions in public money on tributes, parties and ostentatious nonsense. God save her? Ha! Yet the British public, being the gullible cretins they are, will just lap it up. Oh how we enjoy a good old knees up, eh. If it were down to me, we'd take to the streets and holler Morrissey and Marr's masterpiece at the top of our voices. Here, the title track of one of pop music's most brilliant records ever is fashioned with a touch of East European flair by the Ukrainians who are, as you can probably tell, from Yorkshire! (true!)
2. Terry de Castro America in '54 [2009, A Casa Verde]
Pete Solowka of the Ukrainians was a founder member of indie legends the Wedding Present. Terry de Castro was the Weddoes' bass player between 2004 and 2010. Nice segue, huh? Just prior to leaving, she released her debut solo album. It comprised covers of songs by friends and artists she had worked with, including her former bands. This superb track was originally performed by acclaimed Hawaiian songstress Simone White, whose 'The Beep Beep Song' has no doubt infected your brain at some point.
3. Johnny Cash I'm On Fire [2000, Badlands: A Tribute to Bruce Springsteen's 'Nebraska']
Johnny Cash was one of Bruce's musical heroes. Interesting then that Cash would cover a number of The Boss' tunes over the years. This take on Springsteen's tale of unrequited love is taken from an album commemorating his most enthralling album 'Nebraska'. Oddly, 'I'm On Fire' didn't actually appear on that record, popping up instead on its successor 'Born In The USA'. That record's bombastic title track was originally written for 'Nebraska' but didn't make the cut. Check out what it originally sounded like on Pod 21.
4. The Proclaimers (I'd Go The) Whole Wide World [2007, Life With You]
Pod 17: re:Covering 2 opened with a cover of a Proclaimers song, so here are the Scotch twins with a cover of their own. Wreckless Eric's debut single remains his best-known work, and is often referred to as a classic of the punk and new wave era. The Reid brothers render a generally faithful take, but with added 'oomph' and broad Scottish accents.
5. Buffalo Tom Age Of Consent [2011, Bones EP]
In 1992, Buffalo Tom released one of my all-time favourite singles ('Velvet Roof') and albums ('Let Me Come Over'). But while they continue to produce top class original power-pop, they're not averse to a decent cover version as well. Their stripped-down rendition of The Jam's 'Going Underground' remains a highlight, but this recent attempt at one of New Order's finest early tracks is definitely up there. Appearing on the Manchester legends' second album 'Power, Corruption & Lies', it was written around the same time as 'Blue Monday' and is a great example of early British electronica and how New Order became one of the most influential British acts ever.
6. Blaggers I.T.A. Search & Destroy [1993, United Colors Of Blaggers I.T.A.]
Blaggers I.T.A. were a short-lived punk band fuelled by their staunch anti-fascist leanings, which is what turned me onto them back in the day. I once interviewed them in Torquay, where they not only supported the Manic Street Preachers, but blew them offstage. This instrumental version of the Iggy Pop-led classic from 1969's 'Raw Power' substitutes the vocals with a trumpet and samples and it actually works pretty well. The band flirted with fame briefly in the mid-90s before dissolving. Frontman Matty Blagg tragically died from a heroin OD in 2000.
7. Gruff Rhys A Design For Life [2011, unreleased BBC Radio 2 Session]
'A Design for Life' was the first song the remaining Manics wrote and released following Richey Edwards' disappearance and it was the mainstream breakthrough they had been threatening for sometime. Gruff Rhys takes his fellow countrymen's overtly Socialist anthem and infuses it with a country-folk vibe, kind of like if Johnny Cash and Bob Dylan teamed up to do it.
8. The Cardigans Sabbath Bloody Sabbath [1994, Emmerdale]
One of the most famous heavy metal riffs of all time first reared its ugly head late in 1973 as the title track of Black sabbath's fifth album. Written in the dungeon of a haunted castle in Gloucestershire (how metal can you get?), it has been covered by numerous metal acts, including Bruce Dickinson and Anthrax. Swedish popmeisters The Cardigans released their altogether sweeter version of the song on their debut album, which was NOT named after a well-known soap opera...
9. Sunn O))) F.W.T.B.T. [2002, Flight Of The Behemoth]
'For Whom The Bells Toll', a song about the doom faced by fighters in the Spanish Civil War, featured on Metallica's second album 'Ride The Lightning'. Seattle's drone-metal pioneers Sunn O))) never do a straight cover and this is no exception. Their trademark ultra-slow, ultra-low and ultra-heavy sound transforms this thrash metal classic into the sort of thing that can make grown men shit themselves (literally; so loud and low are their live performances, the frequencies are said to make audience members lose control of their bowels!) The full-length version exceeds 10 minutes, but I've extracted a 3½ minute segment which includes vocals, bass and drums, none of which are regular fixtures of Sunn O)))'s sound. I'm not a big fan of any metal sub-genre as a rule, but if it's different, I'm interested. Say what you like, but this is different! Incidentally, the full title of this version is 'F.W.T.B.T (I Dream of Lars Ulrich Being Thrown Through the Bus Window Instead of My Mystikal Master Kliff Burton)'.
10. Chumbawamba Her Majesty [2002, non-album mailing-list only single]
We end as we began. Paul McCartney penned this little ditty to Liz in 1968 and it appeared at the very end of 'Abbey Road' the following year. Chumbawamba, as you would expect, can't just leave it like that. Appended onto the only verse of the original are new verses and bridges containing a barbed anti-Monarchy message which is arguably even more relevant in 2012 than it was when the Chumbas released this 10 years ago. The Queen may not be dead, but she is "pretty much obsolete".
Thursday, 22 December 2011
UnOccupied!
I was going to post part two of my 'Best of 2011' podcasts this week, but given that the response to part one has been pretty much non-existent, I have decided that it shall remain unreleased unless I become convinced that people give a shit.
If you want it (and judging by the download figures for part one, you probably don't) then leave a comment. Otherwise, I'll see you in the New Year with a new covers podcast, seeing as that's the sort of thing that keeps everyone happy.
And I thought those who came here were interested in originality in their music........
Thursday, 8 December 2011
Pod 22: Occupied!
2011: The year the people showed those in charge that we've had enough. In North Africa and the Middle East, the tyrants were ousted from power in the name of freedom. Across the world, "the 99%" occupied major cities, voicing the anger and frustration at being squeezed tighter and tighter while the super-rich 1% get bailouts, bonuses and further tax concessions.
Meanwhile, in England, a bunch of chavs sought free trainers by smashing and burning things.
In the music world, there was plenty to celebrate and moan about too. The charts continue to be clogged up with mass-produced generic r&b pop crap, and "The Industry" is still making vast profits peddling such junk whilst bemoaning the 21st Century methods consumers are using to acquire music. On the other hand, there has also been some amazing stuff released this year and as From Inside The Pod is all about celebrating great music, I thought my final posts of the year should be all about just that.
So, I've compiled two podcasts featuring some of my favourite music of 2011. It's far from comprehensive, and certainly in no particular order. So that I didn't have to post several hours worth of tunes, I have had to omit some absolutely wonderful stuff (Elbow, Emmy The Great, Kate Bush, Black Keys, etc) but did manage to include some real gems.
Here's part one, which while not as stylistically diverse as most of my other posts, still reflects a broad range of moods. Part two will be up around Christmas.
This post is dedicated to Welsh football legend Gary Speed.
1. Pete & The Pirates Half Moon Street [2011, One Thousand Pictures]
The so-called "difficult second album syndrome" didn't seem to hit Pete & The Pirates whose sophomore effort sounds, erm, effortless. One of the top five albums played in The Robster's car this year.
2. Laura Marling Salinas [2011, A Creature I Don't Know]
Remarkably, Laura Marling continues to get better and better. Just how good can this girl get? Her third album is one of the finest displays of song-writing you'll hear for a long time, probably until her next record...
3. Cold War Kids Don't Look Down On Me [2011, Mine Is Yours]
A fuller, more soulful sound graced the Cold War Kids' third album. While it divided the critics, for me 'Mine Is Yours', with its more anthemic pop leanings, proved there is more to this band than preachy lo-fi indie rock. 'Don't Look Down on Me' was one of the bonus tracks, but actually fits really well as part of the 'main album'.
4. Young Knives Running From A Standing Start [2011, Ornaments From The Silver Arcade]
Always fun, the Young Knives added a light pop twist to their usual angular art-punk approach. There were more electronics in evidence on their latest record than on previous releases, yet quality-wise it was right up there. This track stood out for me on first listen and remains my pick of the album. And yes, I can hear 'Paranoid Android' in there too...
5. Bon Iver Towers [2011, Bon Iver]
The highly-rated second album by Justin Vernon displayed a more ambitious approach, with numerous collaborators contributing horns, woodwind, strings and keyboards to his hypnotic sound. The results: a haunting yet absorbing record that has earned him massive chart success across the world and a Grammy nomination in the States.
6. The Joy Formidable The Magnifying Glass [2011, The Big Roar]
I tipped this lot way back on Pod 03 and they haven't disappointed. Massive favourites in the press and on the live circuit, Mold's bright young things have lit up my world this year, earning them a prestigious slot in The Robster's top 5 albums of the year!
7. Tim Booth All About Time [2011, Love Life]
Tim Booth's second solo album (the follow-up to 2004's 'Bone') tackled such topics as domestic violence, famine, the apocalypse and a near-death experience of his own! Which kind of makes you wonder where these buoyant tunes come from... While comparisons with his band James are somewhat inevitable, there is no doubt 'Love Life' is a very different record to anything they released.
8. Björk Mutual Core [2011, Biophilia]
Look, say what you like about that ghastly Gaga woman, but nothing - NOTHING - she has ever done or will ever do could ever compare in the slightest with the genuine creativity and imagination that is evident in Björk's work. The word 'genius' is bandied around all too frivolously these days, but if anyone is worthy of the tag, my little Icelandic pixie surely qualifies. 'Crystalline' is arguably the year's most astonishing single, while 'Mutual Core' is another solid highlight from her eighth solo album. Brilliant.
Friday, 18 November 2011
Pod 21: Eleven/Eleven
After a flurry of themed pods, it's back to the randomness of normality. The long dark nights have drawn in, it's cold and wet outside, and to make it worse, it's nearly Christmas!
I've pieced together an assortment of tunes to put some colour into your November drabness (for half-hour, at least). A double-bill for December is being lined up, featuring some of my fave records of the year. In the meantime, feast on this little beauty, which contains a sample of the delights I've been feeding my head in recent weeks.
1. Stereolab Lo Boob Oscillator (part 1) [1993, single]
JC over at The Vinyl Villain recently posted an old TV clip of Stereolab performing their best-known track 'French Disko'. I was never a big fan, but this made me go back and re-evaluate their work. In doing so I discovered the magnificent European-retro sound of 'Lo Boob Oscillator' and liked it very muchly.
2. Bruce Springsteen Born In The USA [Nebraska demo] [1982, Lost Masters 1: Alone in Colts Neck (bootleg)]
Bit of a surprise inclusion? Possibly, but it can't be much of a shock to learn that my favourite Springsteen album by far is Nebraska, with its stripped-down, back-to-basics maudlin folk sound. 'Born In The USA', his biting critique on the isolation and poor treatment Vietnam vets faced on their return home, was originally written for Nebraska. It was passed over and ended up, in a completely different form, becoming the title track for The Boss' next album. Here though, you can hear the anguish and the desolation.
3. Cambodian Space Project Mean Visa Kmean Bai [2011, 2011: A Space Odyssey]
I've featured music from all over the world on this blog, but this is the first from Cambodia. It has taken a little while for the country to rediscover its culture since the atrocities of the Khmer Rouge which murdered its musicians and artists. During the 60s, it had a thriving rock & roll scene. Last year, the Cambodian Space Project became the first Cambodian act to release a single since 1975 (the year Pol Pot came to power). Having toured the world this year to rave reviews, expect to hear a lot more from them in the future. The title of the song translates as 'Have Visa, No Have Rice'.
4. Sheepdogs Hang On To Yourself [2007, Trying To Grow]
I have our friend Sean in Thunder Bay, Ontario to thank for this. He recently sent me a mammoth playlist (that I still haven't got through) which included a track by the Sheepdogs. I'm a sucker for some good old country-tinged rock 'n' roll so naturally I loved it. Like the Kings of Leon did in their early days, the Sheepdogs sound as if they should have been around in the early 70s mixing it with the likes of Gram Parsons, Lynyrd Skynyrd and The Band. Actually, they've only been around a few years, this track featuring on their debut album.
5. U-Roy Chalice In The Palace [1975, Dread In A Babylon]
I said last time out that there was a distinct lack of reggae here at FItP, so this is the first step towards fixing that. I should perhaps have left this for the Queen's diamond jubilee next year. I can't think of many better sights than Her Maj sharing a fat reefer with The Originator (aka: toasting legend U-Roy).
"One is totally wasted, mon...", she slurred to her favourite corgi as she took a final puff of the enormous spliff and handed it to an equally stoned Duke of Edinburgh...
6. Dead Can Dance Fortune Presents Gifts Not According to The Book [1990, Aion]
I didn't get Dead Can Dance at first, but then being a mere 20 years old just as grunge was exploding, that's perhaps understandable. But late one night (or more likely early one morning), in a dimly lit room at the end of a house party, someone put 'Aion' on the turntable and it suddenly made complete sense. This track in particular continues to stand out, its lyrics having been penned by Spanish Renaissance poet Luis De Góngora. I suppose in less poetic language, it's all about 'sod's law'!
7. Throwing Muses Shark [1996, Limbo]
The utter genius that is Kristin Hersh recently came to Cardiff with Throwing Muses, their first tour in too many years. And I missed it! Couldn't go. Gutted! Have to make do with the wonderful memories I have of the classic Muses line-up supporting R.E.M. in London in 1989, blowing the several hundred people there present into the middle of the following week! *sob* Life can be so cruel. While nothing can quite make up for this terrible injustice, I'm including this amazing track which was strangely omitted from the band's recent self-compiled 'Anthology' (out now!)
8.Leadbelly Birmingham Jail [1948, Leadbelly's Last Sessions]
Why can't people tell stories anymore? Or at least, why can't anyone tell a story like Leadbelly? His songs have endured for 60, 70, 80 years or more, and this one, his variation of the traditional American folk song 'Down In The Valley', is one of my favourites. It was one of his last ever recordings, sadly passing away the following year.
9. Helen Love So Hot [1994, Summer Pop Punk Pop EP]
Perhaps only Shonen Knife can rival Swansea's Helen Love as the band that most worships, and wants to be, the Ramones. 'Da Brudders' influence is so great, they are frequently referred to in the Welsh combo's song titles and lyrics, and the trademark catchy, often very short blasts of punk-pop are uncanny. Joey Ramone even guested on one of their early singles! Sadly, "Gwair ho, gadewch i ni fynd" doesn't have quite the same ring to it...
10. Jeffrey Lewis Gas Man [2007, 12 Crass Songs]
It's been kind of cool to like Jeffrey Lewis for a while. Hugely prolific (16 albums/EPs in 14 years, many of them lo-budget, self-released affairs), he's beginning to become more and more popular with every new release. Which most likely means he's no longer cool, of course... He has also written and illustrated his own series' of comic books. This song is possibly one of his most angry, but eerily poignant still.
Tuesday, 25 October 2011
Pod 20: #keepingitpeel2
Today is Keeping It Peel Day 2011. When I decided to take part in the inaugural event last year, I had no idea how well received my contribution would be. Last year's podcast (Pod 08) was bigged up by #kip main man Webbie and was the most downloaded file I'd done until Pod 19 overtook it last week.
It was a lot of fun doing that one, so this year I decided to do something a little different. While 2010's effort concentrated on some of Peelie's favourite artists and records, this year's is made up exclusively of session tracks recorded for his shows. Naturally, there were hundreds, nay, thousands of songs to choose from. Some were pretty tricky to track down, but well worth the effort. Some of the acts never achieved much in the way of commercial success (though proved to be quite inspirational to those that followed), while others went stratospheric. Either way, Peel championed them even when nobody else wanted to know.
As usual, I've stuck to my 10-track, 30-ish-minute rule, but I could have put together hours worth of stuff (my list of what I left off is as fascinating as the list of what made it!) Interspersed amongst the music are some words from the great man himself. What's interesting is the contrast of the young Peel's voice (early to mid-70s) and the more familiar baritone drawl of his later years.
I've decided against a eulogy this year. I said all I needed to say last year, and besides far better people than I will have said it all and far more eloquently. Instead, it's time to let the music do the talking. Oh, and no, I've not included 'Teenage Kicks' or anything by the Fall. Been there, done that...
(And kudos to anyone who can identify the sheet music in the artwork...)
1. Cinerama Quick, Before It Melts (May 2001, 7th of 10 sessions)
Maybe only The Fall made more Peel sessions than David Gedge who recorded a total of 19 in less than 20 years. The first nine were as frontman with the Wedding Present, the next 10 were with Cinerama (though the last of these fell during the latter's transition back into the Wedding Present). This is probably my favourite Cinerama track and tells the story of a man's reluctant infidelity.
2. Robert Wyatt I'm A Believer (September 1974, 2nd of 2 sessions)
He may be one of rock 'n' roll's casualties, but Robert Wyatt is also one of its unsung heroes. Following the accident that left him paralysed in 1973, John Peel compered a benefit concert for Wyatt headlined by Pink Floyd. The following year, after a standoff with stuffy BBC executives, Wyatt eventually won the right to perform his version of 'I'm A Believer' on Top of the Pops in his wheelchair. Apparently, bosses had initially deemed the prospect as unsuitable for family viewing. How times have changed, thankfully. Bizarrely, he has even spawned a new verb: 'Wyatting' - the practice of playing weird tracks on a pub jukebox to annoy the other patrons. Try it...
3. Laura Cantrell Pretty Paper (December 2003, Peel Acres, 5th and final session)
Peel described Laura Cantrell's debut album 'Not the Tremblin' Kind' as "my favourite record of the last ten years and possibly my life". The track 'Bee' from her third album was dedicated to his memory. This beautiful performance of the classic Roy Orbison hit was recorded live in the Peel family's living room less than a year before John's death.
4. Datblygu Rhag Ofn I Chi Anghofio (January 1991, 3rd of 5 sessions 1991)
With shades of The Fall and Super Furry Animals, Datblygu were picked up by Peel through their debut single and went on to record five sessions for him. No one played Welsh-language music on English radio, except our John who also championed Gorky's Zygotic Mynci and SFA. The title, by the way, translates as 'In Case You Should Forget'.
5. Napalm Death Raging In Hell (March 1988, 2nd of 3 sessions)
Who else but John Peel would play Napalm Death (and other bands of their ilk) regularly on the radio? While most acts recorded three or four tracks per session, this lot would have to do upwards of 10 in order to get a fair share of airtime. To Peel, grindcore artists such as Napalm Death were not novelties as they were to many others, but a genuine musical movement worthy of as much respect as anything else he played.
6. Misty In Roots Rich Man (June 1979, first of 9 sessions)
Another of Peel's all-time favourite records was Misty In Roots' debut 'Live at the Counter Eurovision'. His championing of it helped bring roots reggae to a white audience. They became regulars on his show, releasing a compilation of session tracks in 1995. They continue to tour. This also reminds me that there is not nearly enough reggae on this blog. Hmmm, must right that wrong...
7. David Bowie Port Of Amsterdam (January 1970, third of 6 sessions)
John Peel's relationship with the young Bowie is well-known. Peel nurtured the precocious talent from as early as 1967 when Bowie recorded his first session for him. In fact, it is widely accepted that it was John Peel who 'discovered' Bowie and was largely responsible for his ultimate fame. Sadly, the pair lost touch as soon as Bowie exploded into the mainstream in 1973, something John took personally. Here's Our Dave (as he's affectionately known in my house) with his version of the Jacques Brel song 'Amsterdam' (which is based on the melody of the 16th C. English folk song 'Greensleeves' which itself is often mistakenly attributed to Henry VIII).
8. Pixies Tame (October 1988, second of 5 sessions)
The greatest band to walk the Earth in my lifetime! John Peel obviously saw something in them as well, he had them in session five times! 'Tame' is originally from the band's masterwork 'Doolittle', a record which I will probably insist is played from start to finish at a very high volume at my funeral.
9. Queen Great King Rat (December 1973, 2nd of 3 sessions)
Yes, even Queen did Peel Sessions, three in fact. The first two were recorded for a show John presented called 'Sounds Of The Seventies'. The third, in 1977, came after the band had become huuuuuge and included a frankly amazing version of 'Spread Your Wings' (available on the recent deluxe edition of 'News Of The World'). 'Great King Rat' however, remains one of their finest early songs.
10. Son House My Good Gal [edit] (July 1970, only session)
How good is this? The legendary Son House played his only Peel Session in 1970 sounding as if he was possessed! To see him perform was like watching the devil himself - head thrown back, wailing and hollering, guitar practically beaten into submission. His unique style can still be heard in a slew of young upstarts, in particular Jack White who has long cited Son House as one of his biggest influences.
Keep It Peel right here! Then visit Webbie's KeepingItPeel site for more links and tributes.
Friday, 23 September 2011
Pod 19: A Carnival Of Sorts - a tribute to R.E.M.
REM split up this week. In a way I'm glad. They kind of lost the plot a while ago, and of the last five albums, there's only one I think I can honestly say I truly like - 2008's 'Accelerate'.
But I used to love REM. I mean really, really, really love them. When I was 16, a mate at college lent me the cassette of 'Document'. It was REM's fifth album, but the first thing I had ever heard by them. It blew me away, and for the next 15 years or so, I was a hopeless addict, a "DiStiple". When I think of the time and money I spent tracking down rare early singles, promos, collectables, bootlegs, videos... you name it, if REM had as much as breathed on it, I had to have it.
When Bill Berry left, something changed but I carried on regardless, defending the rather bloated 'Up' album in 1998 to the hilt. But when 'Reveal' came out in 2001, I just couldn't do it any longer. It was a poor, poor record by their standards, and by then, I had discovered the White Stripes who were infinitely more exciting. I hoped it was a one-off, but sadly, 'Around The Sun' was so stupendously dire, it was the first REM record I never bought. The candle was burning out.
Today, I still listen to 'Document', 'Lifes Rich Pageant' and 'Fables of the Reconstruction' (my top 3) with great fondness, and all those 80s records, going right back to 'Radio Free Europe' in 1981, really mattered. REM mean a lot to me for all kinds of personal reasons too (which I won't bore you with here), but the time was right to call it a day.
So, as a mark of respect, I dedicate this very special, hastily-compiled podcast to one of the most important and influential rock & roll bands of my lifetime. A collection of REM covers by a myriad of artists ranging from the sublime to the ridiculous, which in essence I suppose kind of sums up REM's career. I've tried to avoid most of the obvious ones - great songs they may be, but I'm just so utterly sick to death of 'Losing My Religion', 'Everybody Hurts' and 'Man On The Moon' - and in the interests of brevity (a technique REM should have employed a little more often in their later years), I've kept it to 9 tracks which still takes it over the magic 30-minute mark.
The eagle-eyed among you may notice that for the first time there is no Welsh artist here. That's because I couldn't find any good REM covers by Welsh acts. The nearest I got was Feeder's 'Everybody Hurts', but aside from it being one of those aforementioned tracks, it really wasn't very good. However, Gene vocalist Martin Rossiter is Welsh. Not enough to merit a little Welsh flag though...
Finally, I could find no covers of any REM songs post-1994. That in itself is telling...
1. Editors Orange Crush (2006, Q: Covered - 86/06)
original from Green, 1988
R.E.M.'s first Top 40 hit in the UK, it saw them debut on Top Of The Pops. At the song's conclusion, the moronic presenter that evening said: "Mmm, that would be nice on a hot day - 'Orange Crush' by R.E.M.", completely missing that the song was about chemical warfare and the use of the nerve gas Agent Orange in the Vietnam war! Editors' brilliant full-blooded cover was so well liked by Messrs Stipe, Buck and Mills that they returned the compliment and covered the Birmingham band's single 'Munich'.
2. The Decemberists Cuyahoga (2011, free download only)
original from Lifes Rich Pageant, 1986
The latest album from the Portland, OR. folkies was not only heavily influenced by R.E.M., but also featured a certain Peter Buck. This version of 'Cuyahoga' simply oozes the folk traditions the band tries to emulate while staying true to the utterly wonderful original which is one of my faves.
3. The Royal Philharmonic Orchestra Stand (1999, Plays the Music Of R.E.M.)
original from Green, 1988
The RPO have made a number of tribute albums, most of which are patchy, but contain the occasional gem. This is undoubtedly one of those gems. It's so unashamedly upbeat, it makes the original sound almost funereal!
4. Weezer Oddfellow's Local 151 (2008, b-side of Pork And Beans)
original from Document, 1987
Document has to go down as one of the most significant records in my life. It was my epiphany in so many ways. The first time I heard Stipe's rasping voice I was unsure what to make of it, but by the time the album's closer came around, with its almost desperate strains of "FIIIRRRRRRREHOOOOOOUUUUUUUSE!", I was totally convinced this was a band I would adore for a long time to come. Weezer's Rivers Cuomo doesn't attempt to emulate Stipe's conviction, but the menacing muted guitars are retained.
5. Grant-Lee Phillips So. Central Rain (2006, nineteeneighties)
original from Reckoning, 1984
This has to be right up there with the Editors on my list of best R.E.M. covers. While the original shimmers with Buck's Rickenbacker arpeggios, Grant-Lee Phillips' beautiful rendering adds a dark, almost vulnerable tenderness to the song and seems to also incorporate an element of 'Drive' from Automatic For The People.
6. The Moog Cookbook The One I Love (1996, The Moog Cookbook)
original from Document, 1987
I know I said I'd tried to avoid the obvious songs, but I just couldn't resist this. If it doesn't make you grin like a fool, you're probably dead. The Moog Cookbook were a duo who used nothing but vintage analogue Moog synths in their music. They released a couple of covers albums in the 90s, this version of R.E.M.'s breakthrough hit appearing on their debut.
7. Gene Nightswimming (1997, b-side of Where Are They Now?)
original from Automatic For The People, 1992
Despite being touted as a Britpop band, Gene had an awful lot more about them than the vast majority of others in that short-lived scene, releasing some of the best singles of the decade. The Morrissey-esque delivery of Martin Rossiter was definitely suited to Michael Stipe's paen to skinny-dipping in the dark.
8.Pavement Camera (1994, b-side of Cut Your Hair)
original from Reckoning, 1984
Californian indie legends who were simultaneously loved by fans and critics and loathed by the likes of Mark E. Smith, Billy Corgan and Beavis & Butthead! This re-styling of 'Camera' featured on their classic single 'Cut Your Hair' and features some rather challenging vocal work from Stephen Malkmus...
9. Blanche Find The River (2007, Drive XV: A Tribute To Automatic For The People)
original from Automatic For The People, 1992
At one time voted the best R.E.M. song of all time by fans, 'Find The River' closed their biggest-selling and most well-known album, and it somehow feels appropriate to round off this tribute to the band's amazing career. This version appeared on a Stereogum covers project for Automatic For The People's 15th anniversary, and is performed by Detroit's very wonderful Blanche who really do need to release a third album soon. It's been too long.
Saturday, 10 September 2011
Pod 18: European Females
A little over a year ago, I posted a podcast featuring a host of new, young female singer-songwriters. 'Pod 4: Tattoos, Terrors, Flames and Flowers' proved to be one of my most popular posts and I have continued to feature those, and many more, female artists since.
There was however, just one oversight. Aside from Ireland's Imelda May, everyone on Pod 4 was either from the UK or the States. I have featured artists from all over the world on my podcasts - Jamaica, Slovakia, Japan, Iceland and Canada to name but a few, but there has been a distinct lack of European females, despite there being a wealth of extraordinary talent across the continent.
So to make amends, this poddy has been compiled to exhibit some of the very best lady singer-songwriters from Wales to Russia. As you would expect, it's rather quirky and original. Some of these girls you may have come across before, some may well be completely new to you. But all are definitely well worth a listen. And if you're the sort of person who "doesn't really like female singers" (and I know a few people like that), then with a dismissive attitude like that you probably don't belong here. For everyone else, enjoy.
1. Possimiste Filably [extract #1] (2011, download only)
This 18-year-old Estonian describes herself as an "uber-experimentalist-hippie-bat, who likes to destroy the borders of music genres [...] a mysterious creature who lives in a forest and is always wearing imaginary tinklers in her hair." Awww, sweet. Nevertheless, her music is haunting and desolate, but absolutely beautiful, sounding not unlike Sigur Rós. An extraordinary young lady, for sure. Hear and download her songs for free at her Soundcloud site.
2. Lykke Li Let It Fall (2008, Youth Novels)
One of Sweden's hottest new exports, Lykke comes from a town on the southernmost tip of the Scandinavian Peninsula, but has also lived in Portugal, Morocco, Nepal, India and currently, New York. Attempts to define her music have failed dismally, with terms such as electronica, indie and "wonky pop" (wonky pop?????) being bandied around. Her second album was released earlier this year to critical acclaim.
3. Ane Brun Ten Seconds (2008, Changing Of The Seasons)
Norway's Ane Brun has a unique voice that contrasts wonderfully with the warm, understated sound of her music. She is a big star in her home country and neighbouring Sweden, and recently toured and performed with Peter Gabriel. She releases her fifth album this month.
4. Meinir Gwilym Siglo Dy Sail (2008, Tombola)
Anglesey's Meinir Gwilym is not only one of Wales' most talented musicians, she is also one of the biggest-selling Welsh language acts in history - and she's still only 28. This lovely track is from her fourth (and most recent) album. An even lovelier live acoustic version, complete with English translation, can be seen here featuring Welsh harpist Elinor Bennett.
5. Signe Tollefsen Mama (2009, Signe Tollefsen)
This flame-haired chanteuse from the Netherlands has a voice that could melt solid steel, such is its warmth. Signe is the only act on this podcast to have featured in one of my previous offerings, her imaginative re-working of PJ Harvey's 'Down By The Water' appearing on Pod 11. Her new album Hayes is released this month.
6. Mirel Wagner No Death (2011, Mirel Wagner)
One of my favourite discoveries of the year is Mirel Wagner from Finland. The 23-year-old produces of some of the most ominous-sounding, brooding folk music around. It's spine-tingling stuff at times and it has been getting the critics rather excited. One to watch.
7. Ania L'ultimo (2006, Kilka Historii Na Ten Sam Temat)
One of Poland's biggest stars is Ania Dąbrowska whose retro sound has earned her four number-one albums in her homeland. While she usually sings in Polish, her most recent record, last year's covers album 'Movie' (featuring songs from some of her favourite films, including 'About A Boy', 'The Graduate' and, erm, 'Deep Throat II'...) was sung in English. This track may not feature much in the way of vocals, but she turns Ennio Morricone's original instrumental into the soundtrack of a classy European city in the 1960s, perhaps while sitting out on the piazza with a cappuccino, watching girls strut by in miniskirts and kinky boots as Michael Caine leads a fleet of speeding Mini Coopers though the streets...
8. Tina Dickow Rebel Song [acoustic] (2010, Welcome Back Colour)
Inspired by the likes of Leonard Cohen and Tracy Chapman, Tina Dickow - or Tina Dico as she's known outside her native Denmark - has forged her own sound resulting in huge success at home and on the continent. Having spent seven years in England developing her career, she now resides in Copenhagen and has become one of her country's most celebrated artists. This track originally appeared on her 2009 album 'The Road To Gävle', but this version appears on the second disc of her recent part-compilation album which gave us new acoustic takes on earlier material.
9. Boy Boris (2011, Mutual Friends)OK, so not a female artist like the others, but actually a collaboration of two. Boy is the new project of Switzerland's Valeska Steiner and musician Sonja Glass from Germany. (Not to be confused with the Norwegian and Canadian rock bands with the same moniker.) Their debut album was released last month, and this brilliant track is a highlight.
10. Regina Spektor Poor Little Rich Boy (2004, Soviet Kitsch)
There is a case for arguing that Regina is American due to her living in New York since she was a child. But she was born in Moscow and her parents are Russian Jews, so she qualifies as European in my book! I was torn between this track and 'Love Affair' from her debut album, but opted for 'Poor Little Rich Boy' because it's slightly more bonkers!
outro: Possimiste Filably [extract #2]
If you want more, the following artists have featured on previous podcasts:
Ólöf Arnalds (Iceland) appeared on Pod 10
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