This Weekend I’ll Mostly Be Listening to… Music from ‘Grease’ August 23, 2014Posted by irishelectionliterature in This Weekend I'll Mostly Be Listening to....
A few weekends ago there was an Outdoor Cinema put on by Dun Laoghaire Rathdown County Council in Marlay Park. I was given a choice …….. “Dirty Dancing” on the Saturday night or “Grease” on the Sunday night. I opted for “Grease”.
I came home from The Limerick Kilkenny match in Croke Park, dried out a bit and off the family plus German exchange student went. The ground was sodden in places but armed with rain gear a groundsheet , an umbrella and some shopping bags , a flask and picnic we found a spot. I was surprised at the amount of equipment some people had brought along, fold up chairs, tents, tents open on one side, big thick plastic sheets to make bivouacs and lots more besides. The best one I saw was a crowd who on arrival each got into a big black bin bag, sat on the ground and then covered themselves in a tarpaulin.
I’d seen ‘Grease’ performed as a school musical before but as the movie came on I realised that I’d never seen the movie before. I would have been too young at the time and my older sister would have seen it in the Cinema or in the school hall where they showed year old films on Friday afternoons. I saw some great films in the school hall over the years …. and “Abba The Movie” !!
The music in ‘Grease’ was good and Travolta could really move. “Summer NIghts” and “You’re the one that I want” (which as 8 and 9 year olds myself and my brother though went ‘you’re the wibbleawong’ ) which was number 1 in the charts for an eternity. It was also one of the first videos on Top of The Pops.
I hadn’t realised either that Stockard Channing was in the movie.
This Weekend I’ll Mostly Be Listening to… Chrome Hoof August 16, 2014Posted by WorldbyStorm in Culture, This Weekend I'll Mostly Be Listening to....
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Prog, punk, soul, dance, electronica, metal, experimental chamber rock orchestral tracks – it must be Chrome Hoof. They’ve been around since 2000, and were established by Leo and Milo Smee, the former of whom is a member of the late and very lamentedCathedral, purveyors of doom metal, who themselves took a prog turn (though not too much of one) an album or two back. Their sound is eclectic and filled out by trumpet, bassoon, saxophone, violin, viola and more. There’s a crossover with some personnel having been in Knifeworld and associated groups.
So if you think they’re like Cathedral, well, they ain’t. Their latest album, released last year, Chrome Black Gold, is to my ears amazing. As noted on emusic, by having a range of female lead vocalists, including Chantal Brown and Shingai Shoniwa of the very excellent Noisettes it ‘offer (s)a defiantly un-macho take on prog, traditionally the hoariest of rock sub-genres’.
Sure, there’s the straight ahead prog of When Lightening Strikes, until the point where Shoniwa steps in and suddenly it’s not straight ahead prog at all. There’s Knopheria which surely must be a disco hit in another universe completely (and those of us partial to Cathedral may recognise one familiar keyboard sound in it). Tortured Craft reminds me just a little of Rip, Rig and Panic, and is none the worse for it. Instrumental Kestrel Dawn comes over initially as a sort of electropop/EBM before… before… before… what might be a beefier take on hauntology, meets some prog and then fades out – all in the space of a minute and forty eight seconds. Varkada Blues has fantastic doom rock vocals, from I’m presuming Leo Smee, tricksy keyboards, a great female vocal which wanders in from another song entirely but is entirely appropriate to the track and ends in neat electronica and Exo-Spektral is strange and great, a weird cross between ELO, Siouxsie and Kurt Weill. It’s that kind of an album.
Highly, highly recommended.
Nopheria (ft. Shingai Shoniwa)
When Lightning Strikes (Live)
When Lightning Strikes
This Weekend I’ll Mostly Be Listening to… Tower Of Babel August 9, 2014Posted by irishelectionliterature in This Weekend I'll Mostly Be Listening to....
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Tower of Babel were a Goth band from Dublin that were around from 1986 to 1989. The wonderful Fanning Sessions has a 1988 Session up on the site and that prompted me to go atticwards to see if I could find the bands first single which I have. There was no luck , so hopefully it is still in my Mothers attic.
I found a few bits on youtube but like many long gone Irish bands they had a Soundcloud page. I must have seen them at some stage as I wouldn’t have bought the single otherwise. I may have seen them in McGonagles , I wouldn’t have been a goth although I had a few friends that were. So I must have been persuaded to go along by them.
Were there many Irish Goth bands? and did any of them have any success?
Tower of Babel have a great flickr page of images which contains pictures of gigs , press coverage etc.
Their Soundcloud page , where some of these tracks came from :)
Oh and I also came upon this site whilst searching for Tower of Babel material which may be of interest to some of you.
This Weekend I’ll Mostly Be Listening to… Queen Adreena August 2, 2014Posted by WorldbyStorm in Culture, This Weekend I'll Mostly Be Listening to....
Never a big fan of Daisy Chainsaw, their crazed indie/garagey/polite punk thing wasn’t bad, but it didn’t feel… solid. Too much of a construct, too much of a filling in of one tiny sliver of the musical pie… too considered. But, then what happened. They went away and reformed in all but name as Queen Adreena (later Queenadreena) and while according to more or less the same musical template somehow they were simply better.
Perhaps it was because singer Katie Jane Garside took over lyric writing duties, or perhaps because there was an interval of a good half decade and more. Sure, there were echoes of PJ Harvey and others, but Garside’s voice was all her own and Crispin Gray’s guitar lines provided crisp garage rock scribbles that underpinned the individual songs.
So, what about Taxidermy, their first album? Opener Cold Fish typifies much of their sound: great circular riffs that fade in and out, with added Jimmy Page style sliding swathes of sound borrowed/appropriated from Whole Lotta Love. All the while Katie Jane Garside sings and whispers above it. Soda Dreamer uses a finger snapping rhythm that stops and restarts with squalls of guitar before the vocals appear and Garside’s ability to switch from abrasive to smooth is put to particularly good use. I Adore You sums that up even more perfectly, an almost inevitable choice for a single with its twisting sub-metallic riff.
And there are nice touches throughout, from the multi-tracked vocals on Yesterday’s Hymn to the rearranged traditional air on Pretty Polly (a gloomy little tale of murder – natch). Yemaya slides along on a soft fuzz of feedback and not a lot more. X’ing Off the Days is almost Zeppelin in its approach, albeit a lot speedier and with the addition of breathy, sometimes breathless vocals.
They released a number of other albums that didn’t radically alter the template before finally breaking up at the end of the 2000s and with Garside pursuing a solo (and collaborative) career.
Throughout there is more than a hint of goth in all this – though more Bat Cave goth of the early 1980s than the later excess of the Sisters of Mercy et al. In other words a goth, or proto-goth, anchored to that point where a tranche of post-punk encountered what Siouxsie, early Cure and others were doing, liked what they heard and ran with it – Garside’s public and performative persona certainly locked right into that proto-goth/art school area – for better and worse. Indeed there’s a studied quality to this, for all the abandon, which may for some be a significant failing, and fair enough. But, I’m reminded of Christgau’s review of Boston’s second album where for all the precision of the guitars and the arrangements he found sufficient corruption in the work to make it interesting.
I Adore You
X’ing Off the Days
This Weekend I’ll Mostly Be Listening to… Rubyhorse July 26, 2014Posted by irishelectionliterature in This Weekend I'll Mostly Be Listening to....
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In the mid 90’s I lived in Cork for a period. Rubyhorse were a Cork band just releasing their first album. One of my co workers knew one of them and I went to see them live a few times and bought the Album ‘A Lifetime In One Day’. The Album was good, although they were better live.”Horses” and “Touch and Go” were two particular favourites. They were big enough in Cork but hadn’t been heard of much in Dublin.
Their lead singer , David Farrell, was the ultimate showman, Cork and cocky he had an incredible stage presence. He was so confident he was almost dislikeable but worked the stage well.
In 1997 , rather than relocate to London as many Irish bands had done, they moved to Boston in the US and started again from scratch. They built up a following there got signed to a major label (Interscope) and moved to LA. They recorded an album that was never released….. and split from the label.
They toured the US for a number of years and performed on The David Letterman show and Late Night with Conan O’Brien. They split in 2004. In their time in the US they released four albums ‘Rise’, ‘Any Day Now’, ‘Goodbye To All That’ and ‘How Far Have You Come?’.
They did some renunion gigs in Cork recently.
Their Facebook Page
The first album ‘A Lifetime In One Day’ is available to Stream on Grooveshark
“Fell On Bad Days”
Ah, the Cocteau’s. What a group, and how typical of the 1980s, able to construct their own defined musical and aesthetic universe, seemingly detached from all that had come before or would come after (though, that last is perhaps arguable). They seem to me to fit into a line of groups, the Jesus and Mary Chain are another, and perhaps Echo and the Bunnymen on a good day a third, who simple were, as if they came into being perfectly formed at that one point in time. Treasure was… well… a treasure. Overplayed, surely. What album purchased before the advent of CDs, and in particular digital download, wasn’t? There was less music, or at least less obtainable music, and truth is less money and you made do with what you got, be it Easterhouse EPs or BFG singles and if they weren’t much cop, well, you probably weren’t going to admit that quite as readily then as now. Indeed there’s academic papers to be written about genre loyalty, and how it existed in such a curiously defined way back then and… like… where the hell did that go?
I never heeded it that much, and nor did any whose musical tastes and opinions I knew then and respected, or now, come to think of it. Music is music and the good stuff is everywhere and the bad stuff is everywhere too.
But there’s no question that – say 1984 or 1985, the predominance of certain forms of what we now, unfortunately, call indie but then was post-punk, was remarkable. And there was album after album just simply great music appearing in a way that wasn’t matched – for my money, until the early to mid-1990s and the rise of electronica, IDM, and perhaps tangentially drum’n’bass (though hip hop was an early precursor of this overall trend).
Which is where the Cocteau’s came in. This seamless sound, opaque vocals, chiming guitars, echoes and more echoes and all of it carried off with a sort of confidence that undercut any questions of pretension. They released three EPs in 1985, each encapsulating their approach. And what I find interesting is that I like the group a lot better now than I did then. Sure, I liked them, I got that Treasure was great and did indeed overplay it, but they were always just a bit too much, whereas now at this remove they sound genuinely remarkable – perhaps recontextualised by all those who they influenced and in turn influenced others again. That said I never stopped liking the EPs perhaps because the shorter format suited them better.
Liz Fraser’s voice was indeed beautiful, but it was a beauty rooted in the anger of punk itself and is sometimes difficult to listen to, both complementary and grating – which is as it should be. Listen to the yelps and barks she emits on Quisquose from Aikea-Guinea, or on Melonella from the Echoes in A Shallow Bay EP. And then listen to Pale Clouded White with guitars that stretch behind the choral sounds and simple vocal melodies. That too, that sense of dissonance fading into melody also came from punk. This might be goth, at a stretch, but it was goth opened up, widening to the horizon, not limited by sub-Joy Division retreads. That last may be slightly unfair, but it’s not, I’d guess entirely inaccurate.
Aikea-Guinea, the title track from the EP of the same name works perfectly. Kookaburra, if overly mannered vocally, even for a group where overly mannered vocals were all, surges on. Rococo, a neat and powerful instrumental harks back to Garlands and their own Joy Division influenced phase. The Tiny Dynamine EP contains Pink Orange Red, Cocteau Twins by numbers – that reverbed strummed beginning, and then almost shouted chorus, with a lovely guitar melody underpinning it – until one remembers that this was from … There was no by the numbers for it to be compared to. Ribbed and Veined is… chunky… high pitched guitar notes cascading downwards against an almost cinematic percussion, as if it were the soundtrack to a film. Plain Tiger has a typically convoluted vocal line, that folds in on itself and then opens out again.
And I throw in Millimillenary just ‘cos it may well be my favourite of all their songs. It was released on The Pink Opaque compilation in 1985 but had been written a number of years earlier when Simon Raymonde arrived in the group.
Special word, as with Lush some years later, has to be mentioned as regards the physicality of their EP and albums, the designed materials accompanying and framing them. Vaughan Oliver’s genuinely luscious visual and typographic solutions.
Actually all that in mind in a way, I’d argue that they went on too long. There was a sense that by the late 1980s the project was flagging, the albums becoming if not predictable somehow less transcendent. And it’s impossible to apportion blame. That just happens. Fraser has essentially retired from music, Guthrie continues, but none of his solo albums have reached the heights of these compositions (though, in all fairness, I should namecheck a fantastic album he did with Harold Budd entitled Before the Day Breaks from 2007).
Pink Orange Red (Tiny Dynamine)
Plain Tiger (Tiny Dynamine)
Melonella (Echoes in A Shallow Bay) – by the way check out the lyrics.
Pale Clouded White (Echoes in A Shallow Bay)
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From Athens , Georgia Bill Mallonee and The Vigilantes of Love were an alt country band that never gained the popularity they deserved. They broke up in 2001 and briefly reformed in 2008. Mallonee still tours as a solo artist. Alas I’ve yet to see him or the The Vigilantes of Love. His website
I’ve previously done a TWIMBLT on Buddy Miller and it was the fact that he produced the bands 1999 album “Audible Sigh” that led me to buy the album. It’s an excellent album , features the odd bit of guitar from Miller as well as backing vocals from a stellar cast of Emmy Lou Harris and Julie Miller (‘Resplendent’ below features Emmy Lou) . The album itself had supposedly four different releases (with slightly different tracks on each!) such were the bands problems with folding record companies Later on I brought a few more of their albums, with ‘Live at the 40 Watt’ being my other favourite.
Mallonee himself is an interesting character, originally a drummer he didn’t pick up a guitar until he was 32. He is also a ‘Committed Christian’ as I learnt from this interview from 2000
There is a history of the band written by Mallonee himself here.
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There was something about Heavy Metal bands and line up changes. Like most genres Guitarists, Bassists and Drummers could change on a regular basis , but many Metal bands were able to change vocalists too! Few bands from other genres changed vocalists, oddly enough the only other genre with so many vocalists changes that I can think of was Traditional Irish influenced groups like De Dannan, The Moving Hearts and even The Pogues (although the Pogues change was a bit of a disaster). Dance genres tended to have guest vocalists.
Back in my youth there was some kudos in knowing that it was an Iron Maiden song in that Daley Thompson lucozade ad, not just that but it was on their first album and that the singer was different. I had a couple of their albums and would have listened to them a lot in my teens. They also had that issue that afflicted many bands especially Metal bands. . . . What was the best line up? ( or the definitive line up) Was Bruce Dickinson better than Paul Diano?
AC/DC were another band that changed vocalist, who was better Bon Scott or Brain Johnson?. Deep Purple and Black Sabbath have had umpteen lead vocalists over the years, Ian Gillan having spells with both. Others here include Judas Priest, Van Halen (yes I know!!) and Anthrax.
With Paul Dianno
Ronnie James Dio
This Weekend I’ll Mostly Be Listening to… Moloko June 21, 2014Posted by WorldbyStorm in Culture, This Weekend I'll Mostly Be Listening to....
Moloko – half Irish, half English. Dance and pop with an undertow of electronica, and then, later, a more organic sound. Big almost orchestral flourishes and smaller instrumental details. The name, taken from nadsat slang for milk in A Clockwork Orange by Anthony Burgess, appears suggestive, but of what exactly? Perhaps that Róisín Murphy and Mark Brydon had a very particular individual and musical aesthetic.
And yet it is strange, because in a way they were, and perhaps remain, ubiquitous. Wiki notes that the single Sing it Back appears on 100 compilations. Their sound, smooth, soulful and in a sense considered, could seem almost manufactured – just another dance/pop group. But then you hear that voice – those dramatic vocal mannerisms and characters that she assumes and those arrangements which blend the electronica, dance and an eclectic range of influences, and it’s clear they’re anything but just another group.
It’s in all the small touches, as well as the big baroque ones. The synth in Dumb Inc. that appears about half way through the song is none more 1980s… why is it there? What does it signify? Is it riffing (literally) on the lyric or is its something else. It’s that sort of an addition that makes them so fascinating and that seems to power them along to produce something that is catchy and compelling. Or Murphy’s ability to run through multiple vocal characterisations in the same sentence of a lyric, being both mocking and knowing (Brydon sings occasionally, as on the album “Things To Make and Do”).
Actually, thinking about it that album, now a whole 14 years old, remains an excellent testament to their music – as are all their albums – but perhaps it is the singles that they released across the decade or so long career that are most representative of their output. And representative only in their individuality. Indigo, The Time is Now, Sing it Back, Forever More, Familiar Feeling and so on are each near enough perfect tracks. Indigo with it’s none more entertaining and strange chanted chorus, Forever More is just a great pop song (and speaking of entertaining, check out the choreography in the video), and so on.
They called it a day in 2005 or 2006 and have worked on other projects, Murphy concentrating on a solo career which appears in no way to have seen any lessening of her personal aesthetic. Oddly enough, listening to them again the thought struck that they’d be perfect for a Bond theme (note the version of Familiar Feeling below). I see Murphy hasn’t ruled out a reunion, saying… ahem… ‘never say never’. So, maybe someday.
The Time is Now
Sing it Back
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Another mostly forgotten Irish band Thee Amazing Colossal Men.
Part of their bio from LastFM site gives a background.
The original version of Thee Amazing Colossal Men was part of the 60s-inspired garage psych/punk scene of the mid-80s (along with the Golden Horde and The Gorehounds; the “Rockabilly Psychosis” compilation was very influential). They played psychedelic 60s covers and were reputedly a fantastic live band. This lineup included Dave Clifford (of Vox fanzine fame), Garret Lee on guitar, Sid Rainey (ex Sid & The Stonecrushers), on bass and Mark O’Sullivan on vocals. Their only vinyl appearance as far as I’m aware was on the “Guru Weirdbrain” sampler. The recorded several demo tapes, two in 1987 alone. The first of these contained voiceovers which Hot Press described as distracting. The second 6-song demo reviewed in November 1987 was described as being much better, with the live sound production suiting the powerful rock music on offer.
I was still in school when my friend got a copy of a Demo Tape from Thee Amazing Colossal Men. The demo was very good with ‘Loganberry Woman’ and ‘Dust’ probably the best tracks on it. When writing this and scouring youtube for clips what did I managed to track down only some tracks from that very demo. I’ve included a number of songs from it , these are the Soundcloud clips.
Of their songs “Superlove Experience” is probably the most well known of their songs.(I’ve also included the single version and the remix Superlove Deluxe which was on the 12″ of ‘Superlove experience’). Their recorded output wasn’t huge at all and their song ‘Lets Talk About Girls’ was a track on the “Guru Weirdbrain” compilation which I have at home. They were subsequently signed to Siren Records and their Album ‘Totale’ eventually came out. It was a bit of a disappointment. As is often the case it was overproduced and didn’t seem to capture their ‘live’ feel at all.
There’s a certain thrill too when following a band from the start and Thee Amazing Colossal Men were one of those for me. Aside from the demo, I saw them a number of times in McGonagles and the Baggott Inn. They featured on one of the ‘Seven Bands on the UP’ gigs which if I remember correctly were in the SFX. They were a wonderful live band.
After ‘Totale’ they had a disagreement with the record company and left Siren Records. They later reformed as ‘Compulsion’.