Thursday, 30 October 2014
It's turning into a kind of interactive week at Bagging Area with reader suggestions and comments leading onto the next day's posting, in a seamless blog-segue. Or something like that. Yesterday Echorich said he needed a Balearic compilation for a drive he's undertaking across the US and went looking for a Jah Wobble, Holger Czukay and The Edge 12". I' afraid I am philosophically and morally unable to post anything involving the tax avoiding, overblown Irish rock band. And this song from Full Circle in 1982 is better anyway, featuring also some girls who turned up at the studio asking 'How much are they?'
A little bit of internet digging led to this re-working/re-edit by Utopus, which is pretty smart.
Wednesday, 29 October 2014
A few years ago I had an idea that doing house music songs, especially vocal sample led ones, on an acoustic guitar could work well (if done well obviously. It could be really horrible in some peoples' hands)- Pump Up The Volume, Theme From S'Express, Cowgirl, those kind of songs.
This came my way on Monday via the social media platform of reader/internet friend Paul Bob Horrocks and it's really nicely done- a version of A Man Called Adam's Barefoot In The Head by The Balearic Folk Orchestra, using voice, acoustic guitar and strings. Reflective and just right for these days.
Tuesday, 28 October 2014
We drove into town on Saturday and I had a Boys Own compilation on the car stereo which opened with Bocca Juniors' summer of 1990 song Raise. They made a video which features a bunch of kids, gorgeous singer Anna Haigh and the rest of the Boys Own crew (Terry Farley in a hat, Andrew Weatherall with long hair). Very summer 1990. Although what you don't get with this three minute version is the massive Thrashing Doves piano sample...
For that, you need this (and you really do need it)...
The follow up, Substance, wasn't nearly as good unfortunately. Weatherall said what he learnt from Bocca Juniors was that you can't make records by committee. Although this record would seem to show you can do it at least once.
Monday, 27 October 2014
I was playing Prince Fatty's Supersize this weekend, an eleven song compilation of some of his best stuff, not very autumnal music admittedly. These two dubs are outstanding- Bedroom Eyes Dub has echo, rimshots, organ and bass.
That Very Night In Dub has the lovely voice of Hollie Cook, a sound that could grace any record.
Sunday, 26 October 2014
Is just one of the lines in this Baxter Dury song, Pleasure, off his new album. It's a belting little tune, with a nagging 80s electro pop melody and some motorik backing and Baxter's hard won wisdom.
The answer is 'shit' of course. It's always shit when the clocks go back.
Saturday, 25 October 2014
Today is the tenth anniversary of the death of John Peel. Webbie (from Football and Music) organises this internet event annually, paying tribute to Peel and his life and the music he loved. This track isn't from an actual Peel Session but it has John introducing the song on the radio,a bit of waffle in those familiar tones, and then Sheet Taft (Glasgow based, Creation Records, post-acid house outfit) and the long, languid, dubby and somewhat trippy Kali.
Today is Mrs Swiss' birthday- Happy Birthday L. She wasn't so keen at first about posing for this shot but we got there in the end.
Her favourite song of all time is The Velvelettes 1964 single Needle In A Haystack, guaranteed to make her dance at almost any social occasion. But I've posted it before so I thought I'd do the same song but by Australian beat combo The Twilights.
Friday, 24 October 2014
Here's a bucket full of rockabilly, a hour and a quarter of songs opening with the incomparable Wayne Walker and working it's way through thirty-six more to get to Al Rex and his Hydrogen Bomb, while Hot Rod Rumble plays behind it. Everyone's a winner.
It's been a long week, pass the wine.
Wolverhampton's Mighty Lemon Drops were almost the archetypal mid-to-late 80s, post-punk/indie group, all dressed in black with Rickenbackers, and found within the inky pages of the NME. Look at the picture- nothing could be more post-Smiths but pre-acid house. They owed a debt to the sound of Echo And the Bunnymen, from the spikey psychedelic guitars to the tom-toms and the voice of Paul Marsh. This was their first single, released for Dan Treacy's Dreamworld label. Close your eyes and it's 1986 again.
Like An Angel