Unauthorised item in the bagging area
Friday, 14 November 2014
Interlude
Interlude was a Morrissey and Siouxsie Sioux two-for-the-price-of-one special, released in 1994, and a cover of a 1968 Timi Yuro song. They've both got distinctive voices that work well together and complement each other nicely, Siouxsie rich and deep, Morrissey wobbling and higher, but somehow, somewhere along the way, it doesn't quite catch fire. In his autobiography Morrissey gives Siouxsie a proper slagging off. But then, he gives almost everyone who appears in the book a proper slagging off so it's difficult to know how much to read into it. I've a vague recollection that Siouxsie was uncomplimentary about the whole experience in an interview as well. Morrissey's guitarist and producer of this single Boz Boorer said Siouxsie was 'a complete joy' to work with and according to a well known online encyclopedia the falling out happened after the recording when Morrissey and Siouxsie disagreed about the content of the video- a video which was never shot. One of Morrissey's most recent Best Of compilations has a version of this with only him singing it- a slight at Siouxsie if ever there was one. Despite all of this playground drama, bitchiness and a bit of an air of let down, I quite like the song, every once in a while.
Interlude (Extended Version)
Thursday, 13 November 2014
Grapples With The Earth With Her Fingers
I was planning to post this anyway and happily reader Gentle Ben pointed it out in the comment box on Monday's Sugarcubes remix post. Jim and William Reid also remixed Birthday, three times in fact (labelled Christmas Eve Mix, Christmas day Mix and Christmas Present Mix). They kept Bjork's vocal and added buzzing guitars, dropping in and out in bursts, some 'hey-hey-hey-hey' backing vocals and a spoken word part. And some feedback. The Justin Robertson remix and these Jesus And Mary Chain ones show what good remixing should do- get the source material and take it somewhere else. All three versions are good.
On the original 1988 vinyl release these Mary Chain mixes were double grooved so depending on whether you hit one groove or the other you got one version or another. The third was on the B-side with a live song. The eight track ep, released in 1992, plays conventionally and has the Robertson mixes, Tony D remixes and The Sugarcubes demo version. Just so you know.
Birthday (Christmas Eve Mix)
Wednesday, 12 November 2014
Here It Comes Again
One of my favourite singles from 2014 is this one from The Amazing Snakeheads. There's nothing here that's new strictly speaking, it doesn't break any new ground- it's got tattoos and quiffs and big boots. But the overdriven guitar, driving Joy Division-esque rhythm section and snarling vocals will make you feel like you're alive.
Here It Comes Again
Tuesday, 11 November 2014
Eleven Eleven Eleven
Remembrance Day was Sunday but today is the actual anniversary of the armistice that ended the First World War, eleven o'clock, the eleventh of November. I was at The Somme and Ypres at the start of October. The cemeteries are full of gravestones like this one- the body of a man who was not identified.
This is a picture I took at Ljissenhoek cemetery, near Ypres. There are 10, 775 graves here. The cemetery was next to a field hospital, so unusually almost all the graves here have names, as the wounded were tagged or identified. It is also an incredibly diverse cemetery containing the graves of British, French, American and German soldiers, men from the Chinese Labour Corps, one of only two women buried in the military cemeteries (nurse Nellie Spindler) and the highest ranking casualty, a Canadian General, within it.
The numbers of the dead, wounded and missing can become too big to fully comprehend. It becomes much closer to home when you dig a little into the records and find the name of a man who has a local interest, your street or town or workplace. Many of these men were either volunteers or conscripts (willing or unwilling) who found themselves caught up in something much bigger than themselves and way outside what they knew. We found the grave of a nineteen year old, Joseph Smithies Entwistle of Darwen, a gunner in the Tank Corps. He died of wounds in 1917, aged just 19. His home address is a three minute walk from the school where I work. Students from the school are his near neighbours, a hundred years apart.
96 Tears
Monday, 10 November 2014
She Lives In This House Over There
The Sugarcubes single Birthday was a record so unlike any other that it assured them some kind of instant hit status almost as soon as John Peel had taken it out of it's sleeve. The album that followed- Life's Too Good- was a massive indie hit. I saw them play live at some point, I think around '89-' 90 (by which point they were promoting their second album, which wasn't nearly as good). They were a good live band, Bjork doing her skippitty-boppity thing and co-vocalist Einar entertaining and annoying everyone.
Birthday got remixed by various people on an eight track e.p. Justin Robertson's remix is the best. He avoids the easy route of just sticking a kick drum underneath and looping a little bit of Bjork's vocal and concentrates on isolating the bass, adding some horns and a dub-dance feel (in keeping with his Lionrock project).
Birthday (Justin Robertson Remix)
Labels:
bjork,
justin robertson,
marlene dietrich,
the sugarcubes
Sunday, 9 November 2014
Over The Wall
It's a funny feeling- to know you lived through and watched something genuinely historic happen (on TV admittedly) and for it then to be celebrated a quarter of a century later. I suppose there were/are millions of people born at any time between 1885 and one hundred years later who could say they lived through and watched genuinely historic events. The fall of the Berlin Wall was twenty five years ago today. Kind of. November 9th was the day that the East German authorities realised they couldn't hold the tide back and that the Soviets weren't going to send support. And the Wall came down.
There have been loads of interesting articles recently, about the events and processes that led up to it, about the myths of the fall of the Wall (Reagan, Bowie, Hasselhoff), some of those ace photomontages showing the same place then and now. 1989 is a key year for me- living away from home, 19 years old, new music and new influences, new clothes. I visited Berlin in July and just seeing those places was startling, seeing the few remaining sections of Wall.
If the end of the Berlin Wall shows anything I think it is that nothing is permanent, that change is always possible and often just around the corner, even with situations that look utterly deadlocked and set in stone. This too shall pass.
Over The Wall
Saturday, 8 November 2014
Spots With Stripes
Two new tracks for your Saturday enjoyment. This new ep, Confluence Of Torrents, from Justin Robertson's Deadstock 33s is a deep and dark delight, full of acidic squiggles, throbbing bass and the smell of dry ice.
Acid Ted posted this the other day and I love it- a new one from Radioactive Man (former Swordsman Keith Tenniswood). Simple drum machine rhythm, a driving bassline, some bleeps and bloops, a mournful synth line and an air that sounds like it was recorded live.
Friday, 7 November 2014
The Return Of Friday Night Is Rockabilly Night 160
This is voodoo priest Louis Romain, from Haiti, photographed in the 1930s. He is the cover star of The Gun Club's debut album the Fire Of Love and also turned up on the sleeve of Sabres Of Paradise's Wilmot single. The Fire Of Love's grooves are shot through with rockabilly, as well as punk, blues, and country.
It's Friday. Shall we have a drink?
Black Train
Mother Of Earth
I came across this earlier this week, a new band and from Manchester too. The New Southern Electrikk and a dark, sultry cover version of Mother Of Earth by The Gun Club. The band say it's only a demo but it sounds pretty done to me. Singer Monica Ward has got one of those voices and the band, former Paris Angels amongst them, cook up a reverb laden stew. Southern gothic via east Manchester. More please.
Thursday, 6 November 2014
Major Tom's A Junkie
No astronaut picture today but the space theme continues in the song- and I thought a picture of Warpaint's foxy bassist Jenny Lee Lindbergh might make a good start to Thursday. Ashes To Ashes was David Bowie's 1980 smash, complete with those lines harking back to Space Oddity and Major Tom floating off in his tincan/opiate haze. Warpaint covered it for a compilation album and did a magnificent, dreamy job.
Ashes To Ashes
Wednesday, 5 November 2014
Holiday On The Moon
Today's song is from the three members of Bauhaus who weren't Pete Murphy, the shiny mid 80s post-goth band Love And Rockets. Daniel J sings about wanting a holiday on the moon on this 1986 b-side but complains about not being able to get a suntan there. Like getting a suntan was ever top of the list of holiday priorities for a goth rockstar. While he does this, and sings about meeting the president too with some cracking call-and-response backing vocals, the band set up a slow, primitive groove with some squally feedback guitars going into the stratosphere at the end. Good stuff.
Holiday On The Moon
This post was edited to correct factual goth rock errors and to reflect my own idiocy.
Tuesday, 4 November 2014
Come Together
After that lovely Spiritualized song yesterday I sifted through their songs on the hard drive and on the shelves. I've got a lot more Spiritualized than I thought I had. Come Together was released as a shot at having a hit single from the Ladies And Gentlemen, We Are Floating In Space album. It got re-recorded at Abbey Road and lost some swear words (and lost a bit of it's power as a result) and there were two remixes- a long, paranoid and freaked out Two Lone Swordsmen remix and a long, less paranoid and still pretty freaked out Richard Fearless one.
Come Together (Richard Fearless Mix)
Good video.
Monday, 3 November 2014
Space Project
This beautiful and melancholic song came from Jason Pierce's Spiritualized on a space themed compilation for Record Shop Day earlier this year. All the songs used sounds found by the Voyager 1 and 2 space probes. Actually, they're not really sounds at all but 'electromagnetic radiation fluctuations in the magnetosphere of the planets, moons and large asteroids the Voyager probes traveled near. Each celestial body is composed of different elements, has its own size and mass, and therefore sounds unique.'
Sunday, 2 November 2014
They're Coming Out Of The Walls
Right then, enough of the balearic stuff. This is a slinky, groovy little number and no mistake- from Anima Animus, The Creatures 1999 lp. And it gives me an excuse to post this rather excellent gif of Siouxsie doing her thing. The Creatures were a side vehicle for Siouxsie and drummer Budgie, with the emphasis on, obviously enough, voice and drums and percussion. The Creatures released four albums between 1981 and 2005 and they all have something going for them. The band ended when Siouxsie and Budgie's marriage ended.
Another Planet
Saturday, 1 November 2014
Hoomba Hoomba Chant Chant
This picture appeared in the August 1990 issue of The Face in an article called A Raver's Guide To Europe. It shows Andrew Weatherall at Pacha, Ibiza, hard at work doing research for Screamadelica and Morning Dove White.
Looking at the late 80s/early 90s there's a point when Balearic (an eclectic mix of records you could dance to that all fitted in with a certain vibe) turned into piano house and then chill out, i.e. people making records with a specific sounds and feel deliberately to evoke those Balearic feelings, the tail wagging the dog maybe. Piano house and chill out both quickly became debased currencies. This record from 1990 by Voice Of Africa skirts around that fine line, with the Keep On Moving drum sample and the tinkling piano line. Very close to the line.
Hoomba Hoomba
The Voice Of Africa record is a million miles from Balearica of The Woodentops, Fini Tribe, The Residents and Nitzer Ebb (not that any of those bands knew they were making Balearica at the time). Nitzer Ebb's Join In The Chant is a much tougher animal.
Join In The Chant
Labels:
andrew weatherall,
nitzer ebb,
the face,
voice of africa
Friday, 31 October 2014
The Return Of Friday Night Is Rockabilly Night 159
Hallowe'en rockabilly special- yes, it has to be The Cramps and The Creature From The Black leather Lagoon (off 1990's top drawer Cramp-fest Stay Sick). This video is NSFW. In fact, it may not be safe for home either.
Mandy
This one's for Drew.
Mandy Smith, mainly famous for marrying the least cool Rolling Stone when she turned sixteen (and he was forty seven), had a pop career of sorts, after signing to Stock Aitken and Waterman. This song, I Just Can't Wait, smashed the UK chart, peaking at number 91. It gained a remix (the Cool Jazzy Breezy Balearic Mix) which made it popular in certain late 80s clubs and circles, especially the legendary Shoom. It was also on the compilation album Balearic Beats Volume 1. Is it a balearic classic? You can decide for yourselves. Drew loves it.
The Face picked up on Shoom and Mandy Smith's remix as this clipping from 1988 shows...
Just to show how SAW-ish the original was (and by contrast how balearic that remix actually was)...
Don't worry- we will never speak of this again.
Thursday, 30 October 2014
How Much Are They?
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.
Labels:
albert camus,
holger czukay,
jah wobble,
jaki liebezeit,
utopus
Wednesday, 29 October 2014
Folky
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
Boy, Am I Gonna Wake You Up
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
Bedroom Eyes
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.
Labels:
alcapone,
hollie cook,
natty,
nina mae mckinney,
prince fatty
Sunday, 26 October 2014
How Did It Feel When The Clocks Went Back?
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
Keeping It Peel
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.
Kali
Labels:
Creation Records,
john peel,
keeping it peel,
Sheer Taft
Needle In A Haystack
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
The Return Of Friday Night Is Rockabilly Night 158
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.
Lemon Drops
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
Thursday, 23 October 2014
My Dream Last Night
Nobody really wants to hear about my dream last night- it wasn't even that interesting. John Holt, one of the golden voices of 60s/70s roots reggae died this week aged 69. His dream was about Ali Baba and his forty thieves. The voice, the riddim, the horns- all perfect on this one.
Wednesday, 22 October 2014
Found
Wasting time on social media recently I followed a link to the video for Hello by The Beloved- you know the one, funky drummer drums, crunchy guitar and a slightly silly, wide-eyed list of people to say hello to including Peter, Paul, Tommy Cannon, Bobby Ball, Little Richard, Willy Wonka, William Tell, Salman Rushdie, Kym Mazelle, Mork and Mindy, Barry Humphries, Billy Corkhill, Fred Astaire, Desmond Tutu, Zippy, Bungle, Jean Paul Sartre...
A click or two away I found Found, the closer off their Happiness album. A different kettle of fish entirely. It's like the Bunnymen on E or New Order at sunrise. Or a blissed out Beloved in 1989. Lovely.
Found
Tuesday, 21 October 2014
French Disko
It's a video only day today- I'm doing this on the run and haven't time to rip and stuff.
C from Sun Dried Sparrows left a comment on my Timothy J Fairplay/Editors post mentioning Stereolab and everybody needs a little Stereolab in their lives, especially the mighty French Disko played live on The Word (you'll have to put up with a couple of seconds of Terry Christian first). The driving indie guitars and droning keyboards, Letitia's vocals- pop and experimental in one handy package and a real highlight from the early 90s.
C pointed me towards Editors cover version which is driving and Joy Division-esque and, hey, actually pretty good.
And it turns out that Scandinvian aces Raveonettes cover it too, as seen here at Austin, Texas in 2008.
Still, I think if pressed, out of the three I'd take Stereolab's original.
Monday, 20 October 2014
Gone Girl
This single from March 1996, from David Holmes' first album This Film's Crap Let's Slash The Seats, is an absolute beaut. Jazzy, early hours of the morning, downtempo vibe, drums played with the brushes, stand up double bass and the lovely vocals of St Etienne's Sarah Cracknell, especially the 'you can never go home anymore' line. There were two 12" singles and a couple of cd singles with a load of remixes as well, but the original mix is hard to beat.
Gone
Sunday, 19 October 2014
Honesty
I don't know much about the band Editors- I see their name about and they seem to be on the TV occasionally, one of those groups who say they're influenced by Joy Division and have a doomy sound. For some reason Timothy J Fairplay did a remix of their song honesty. It's a haunting, electronic affair with some nice bleepy bits. In all honesty, I could do with an instrumental version.
Saturday, 18 October 2014
You Bring Light To Me
Underworld have been at the BBC 6 Music live thing at Maida Vale which you can watch if you live in the UK right here. They start with with a perfect opening pair of Dark And Long and Two Months Off, then a barnstorming Born Slippy and the mighty Cowgirl. Shame it gets interrupted in the middle for a brief interview but you can't have everything.
Restless Soul
Lucia Joyce by Berenice Abbott, 1927
I re-found this the other day, a white label only 12" from 1997 by Restless Soul, with a Two Lone Swordsmen remix. I couldn't remember a thing about it and it's a surprisingly funky Weatherall-Tenniswood remix. I've no idea who Restless Soul were and the internet doesn't seem to know either. It might add some light to your Saturday morning, if it needed any.
Psykodelic (Two Lone Swordsmen Remix)
I re-found this the other day, a white label only 12" from 1997 by Restless Soul, with a Two Lone Swordsmen remix. I couldn't remember a thing about it and it's a surprisingly funky Weatherall-Tenniswood remix. I've no idea who Restless Soul were and the internet doesn't seem to know either. It might add some light to your Saturday morning, if it needed any.
Psykodelic (Two Lone Swordsmen Remix)
Friday, 17 October 2014
The Return Of Friday Night Is Rockabilly Night 157
They loved space and science fiction in the 1950s and 60s and rockabilly wasn't immune. Like this single from Blackie Jenkins in 1967 (just checked the date, I'd have put it earlier than that somehow).
Spaceship Life
Sue
What do you think of the new David Bowie song?
Bowie crooning over dark, cinematic jazz, Taxi Driver soundtrack style jazz, side two of Low maybe, a little bit Red Snapper too. It's not an easy listen and at over seven minutes long not the obvious choice of song to spring upon the world to announce a new Best of album. Good stuff I reckon.
Thursday, 16 October 2014
Back Home
I'm a bit undecided about the new Caribou album, Your Love. The reviews have been glowing and I can see what they're getting at. Some of it is undeniably lovely and several of the songs have a real lightness of touch, with laptop beats and ravey synths and the vocals add a very human touch. Some of it feels a bit insubstantial though and I can't help but feel there's too much top end and not enough bass. I could be wrong, maybe I need to give it more time. Maybe I just don't enjoy listening to full albums that much anymore- that shuffle function, single song internet releases, 12" singles and compilations have definitely affected my habits. I do really like this one (sadly not a cover of the 1970 England world cup song).
Back Home
Wednesday, 15 October 2014
This Is...
This is a leather clad Mick Jones, somewhere in the 70s with The Clash, possibly dreaming of world conquest, the transformative power of punk rock and the vast range of influences he will channel into his band's music over the next few years.
This lovely vinyl rip is the B-side to Big Audio Dynamite's hit single E=MC2, a sampletastic song that showed exactly how much things had changed by the mid-80s.
This Is Big Audio Dynamite
Tuesday, 14 October 2014
Headaches
Kompakt's Total 14 compilation is a really good round up of the label's current talent, a double disc set with lots of things new to me that jump out sounding great.
Gui Boratto's Take Control came out in June and is almost too much, like overdoing it on chocolate. Lovely beats and synth sounds, with some guitars borrowed from New Order, featuring Come and Hell.
Take Control
I'm really enjoying this one too, by Terranova. Lots of Kompakt artists have very anonymous, generic, forgettable names. Over a very cool house track ex-Stereo MC singer Cath Coffey vents about headaches- hangover headaches, personal headaches, political headaches, all sorts of headaches. New genre- paranoia house.
Labels:
au pairs,
cath coffey,
come and hell,
gui boratto,
terranova
Monday, 13 October 2014
Mark Bell
It's been announced today that Mark Bell of techno pioneers LFO died last week of complications following an operation.
RIP Mark.
Run out groove 'Mind those speakers'.
I Don't Know What You People Do With Your Lives
I've said it before but I don't think that The Charlatans were either second rate Manchester bandwagoneers or Britpop lightweights. They made some records that fitted in with both those moments but many of The Charlatans' songs sound much better than other bands from the same time. They've just got more to them, maybe due to the history of the band.
Forever was the opening song on their 1999 album Us And Us Only. The full length version was released as part of an e.p. and it blows any of your other late 90s guitar bands away. The slow fade in of organ, cymbal and bass, building up the tension. There's no real chorus to speak of. A slow 60s garage band snarl sustained for seven minutes twenty eight.
Forever (Full Length)
Sunday, 12 October 2014
Zion
Not only did the French Resistance take enormous risks and suffer terrible reprisals while taking the fight to the occupying Nazi forces but they found the time to dress well and look good while doing it.
Underworld did a ton of remixes of other people- Bjork, One Dove, St Etienne all stand out in my mind. This one of Dreadzone takes some beating. At ten minutes long it's got plenty of highlights... the kick drum at 1.11, the Korg riff repeating throughout, the hi-hat at about 3 minutes, keys after 5 minutes, everything hammering away and building ever upwards, the inevitable breakdown (8.13) and then (at 8.34)... whooooosh, we're away again.
Zion Youth (Underworld Remix)
Saturday, 11 October 2014
Friday, 10 October 2014
Mmm Bus Station... I Love You
I took this shot a week ago today, leaving for the battlefields visit from Preston Bus Station. It's a modernist, concrete masterpiece. Unfortunately it's also unloved, dirty, smells of diesel and a million cigarettes, not much fun inside and surrounded by buses. But still, look at those lovely sleek lines.
Underworld's dubnobasswithmyheadman is twenty years old and about to have a five disc re-release. It's still their best album, despite the pleasures of Second Toughest In The Infants and Beaucoup Fish. The long, bass heavy songs, driven by thumping drums, coupled with the snatched, conversational lyrics (inspired by Lou Reed's New York apparently), machine rhythms and energy but warm, human and sexy too.
Mmm Skyscraper... I Love You (Telegraph)
Thursday, 9 October 2014
Still
Johnny Marr looks the business in this photo- the black barnet, drainpipes, denim jacket and white shirt buttoned all the way up (from The Smith's appearance on the Oxford Road Show). As does his songwriting partner next to him, but Marr's look was always a bit more streetwise.
Johnny's been promoting his new solo album with his band, playing the 6 Music red button thing this week. I haven't got Playland yet so can't comment. But the version of Still Ill was first rate.
Still Ill (6 Music session)
Still Ill is a reminder of what an inventive guitarist he is (and he wrote it aged about 18) and also of how stunning Morrissey's early lyrics were. This song has more great lines than some people manage in an entire career- 'I decree today that life is simply taking and not giving, England is mine and it owes me a living' for starters. And whatever your opinion of Morrissey it is sad and unpleasant that he has been having treatment for cancer.
Getting Away With It was Electronic's masterclass of a first single. Marr and his band played it live at Maida Vale. Opinion seems to be split on this live version but I think it's alright. Watch it quick, these red button sessions have a habit of being taken down.
Wednesday, 8 October 2014
Ypres And The Somme
My visit to the battlefields of France and Belgium was really good, so affecting and memorable in so many ways. The picture above is a reconstructed trench at the museum at Passchendaele. During the Third Battle of Ypres British troops attacked uphill, through mud, for several months. The combined casualty figures for both sides totalled over half a million. The village is now home to Tyne Cot, the largest British and Commonwealth war graves cemetery in the world, containing the remains of nearly twelve thousand men and the names of thirty four thousand whose bodies were never found or never identified. 8367 of the graves bear the inscription 'A soldier of the Great War'. Siegfried Sassoon wrote 'I died in hell- they called it Passchendaele'.
While walking up a track by a farmer's field on The Somme we were warned to look out for battlefield debris. These three unexploded shells were lying by the side of the path, uncovered by the farmer and awaiting removal by the French army. The one on the left was a very recent discovery, it had wet mud on it. They look quite small in the picture but the middle one was as long as my foot. Not that I was putting my foot anywhere near it.
This place left me quite shaken- Beaumont Hamel, the Somme. On July 1st 1916 British troops advanced on the German front line, the first day of the Battle of the Somme. I took this picture from the German position. The British front line was where the trees are. You can walk it in about five minutes today. As the British advanced they were mown down by German machine guns. A petrified tree about 50 yards in front of the British front line was the furthest anyone got. After two hours volunteers from Newfoundland were sent in. They were wiped out. I've read about the Battle of the Somme, this particular part of it, and seen pictures but walking this small part of the battlefield, understanding the topography of the land and how it affected the battle, and standing where such slaughter took place was humbling. It really struck me.
This is a field near Serre. Behind me was a copse and a natural dip in the ground where on July 1st 1916 the Accrington Pals assembled, waiting to go in. At the crest of the rise in the picture, just in front of the tree line were six German machine guns. As the Pals, all Kitchener volunteers, walked out of the copse and advanced into this field the machine guns opened up, firing at waist height. You can see how much cover the Accrington Pals got in this field. None. Of the 700 men who started the day, 235 were killed and 350 wounded in about half an hour. Many of them are buried in a cemetery down in the dip. To stand there, walk across the land, be where they were, on a lovely day 98 years later- difficult to put into words really.
No music.
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