'P' stands for Paddy, I suppose...

Given that it is St. Partrick' Day, and only yesterday I decided to return to the subject of live LPs...
Ireland has for centuries, and still continues to be a treasure chest of music of all sorts. I like a great deal of it too. I could certainly name a few (famous) exceptions but to do so would, however, go against one of the very earliest policy statements I made when starting this blog.
This was actually not something I forethought, even yesterday, but if you don't believe me then it really doesn't matter to me or alter the idea here.
If I listened to one band's recordings more often in the late 1980s than those of Thin Lizzy I don't know what it was. If you wish to condense as much of it as possible into just an hour-and-a-half then 'Live and Dangerous' is that which you need. It was recorded over a period of time and at different venues and there are rumours of over dubbing.
Do not worry yourself about any of that for now - just take it as it comes and let it wash over you. In one sense it doesn't matter how it was imagined and then realised given the technology of 1978. It is astonishing even thirty-seven years later because, played loud on decent speakers, and not through even reasonable earphones, it feels real. That is the best that a live recording can hope to do, howsoever it was recorded and mixed. It was and it remains one of the true classics of its kind. In this case P stands for Philip, without a shadow of a doubt.

My 'P' initial does indeed stand for Patrick so, from the more traditional side of Irish music, comes my favourite version of 'P Stands For Paddy I suppose'. It is taken from the 1974 Planxty LP, 'Cold Blow and the Rainy Night', which I also have on original vinyl.

For your convenience here is a link to that version of this classic; also listen to the lyric about what W. stands for.

Of course there is so much more where that came from and this is without mentioning the Irish influence on American music or vice-versa.

This evening... vinyl only.

Once upon a time radio stations relied on pre-release vinyl. This is one such 7", from 1973, that presaged the release of the album 'Vagabond Of The Western World' (SKL 5170) that was not, as it turned out, destined to rock the world.

Given a couple more years things were to change dramatically in terms of the band; both its core dynamic and the public's appetite for such music. 
The two tracks on the other face of this are 'Gonna Creep Up On You' and 'Little Girl In Bloom'.
As things are going tonight is not going to get beyond 7" singles that I know/or had forgotten that I have. This is a song that, in all probability, you haven't heard for some time...
  

The original release of it  - VER 1 (1981) - sounds so very dated now, I think.

A Rock Legend Is Gone - Gary Moore

  
This came without warning.  There was nothing to suggest that Moore, one of the most prolific and versatile guitarists of his generation, was about to call it a day, let alone in this way, at the age of 58.  He was not famed for the excesses of his lifestyle, more his prodigious output on a wide range of musical fronts, including broadcasting. It included,  inter alia, three separate spells with Thin Lizzy, the last of which saw him record their ninth studio album, and their most successful in the UK chart, 'Black Rose - A Rock Legend'.  In addition, and aside from many other collaborations, he has released the better part of twenty solo albums and had a busy 2011 already planned...

When genres melded...

At some point rock, hard rock indeed, developed a sensibility that included aspects of both UK folk and Americana; perhaps not both at the same time and almost certainly not in the same place.
That would probably be in the early 1970s and this is one of the albums that, I believe, was a trail-blazer although the band in question were actually heading in the direction of harder rock at that time.

This is Decca SKL 5170 (1973) and hard rock it is not!  It is still very good though...

Eric Bell was a victim of the changes but perhaps its time has come around again.  A bonus is that SKL 5170 came with an illustrated lyric sheet.
Even in later Thin Lizzy albums this traît was evident - Jailbreak (1976) is a very good example.  It was, on the face of it, a 'full-on' hard rock album but the subject matter was actually rather traditional...  It was also the album that finally saw them see some success in the US.

The Ghost of Christmas Past...

I like Christmas, when it actually arrives, but with the six weeks leading up to it I have various problems. I'm clearly getting old as it seems a case of wishing six weeks of one's life away; for kids that's probably fine but for the rest of us doesn't that merely seem a waste of time?
On the music front it is, rather than 'Christmas Cheer', more a case of 'Christmas Fear' - a deadly serious industry battle for the mysterious kudos associated (at least in the UK) with "The Christmas # 1" (single) and the hearts and minds of those who buy CDs (or whatever) only at this time and for, mostly younger, family members of whose musical tastes they understandably have little or no comprehension. I don't actually entirely understand my own, so attempting to second-guess such things on behalf of others hardly seems a credible undertaking.

On 'reality TV' there is a parade of wannabes and their gang-masters in behest of the major labels. Deadly twins both and equally Dickensian in their tortuous ventures towards assuaging their vices - for the former the holy grail of 'celebrity', for the latter 'bankability' - and between them there is precious little to discern. A few achieve it, fewer still go on to make a career of it and the odd one goes further still. To be honest that applies to both sides pretty equally, except that some are more equal than others. Those already on the industry side tend to start out better off and with the lion's share of the decision-making power. It has ever been thus...

The compilation "Now That's What I Call Christmas" will be playing, yet again, in every shop and this year the most successful 'Christmas #1" artists ever' (1996,7 &8) - a.k.a. The Spice Girls - are back in the reckoning but it could be worse, I suppose, as there is inevitably a new release by Sir Cliff Richard.
There will also be numerous other compilations, some released by the behemoths of decades past and they are not always without real merit, particularly as an introduction to those artists for anyone not already familiar with their work. One trend in 2007 (that I totally failed to see coming) was the rising popularity of certain bands from the 1970s: amongst the prominent are, perhaps least surprisingly giving their high-profile 2007 reunion concert appearance, Pink Floyd but also Black Sabbath and Thin Lizzy. I certainly don't need any compilations of the latter two bands as I have almost all of it already.

That includes some possibly unusual items. Before Thin Lizzy moved to the Vertigo label for the their fourth album, 'Nightlife' (1974), they were signed to Decca Recordings. In those days promotional copies for review by radio DJs were specially pressed 7" vinyl , often in the format of a 45 rpm EP. This one was produced for the release of Thin Lizzy's album 'Vagabonds Of The Western World', their last album released by Decca, in 1973.

The A-side consists of ' Vagabonds Of The Western World' and 'The Rocker', which was to be a career-long live favourite, and the B-side has 'Gonna Creep Up On You' and 'Little Girl In Bloom'.
That is enough nostalgia for now but it does prompt me to say that this a good time to delve into all that you had neglected before, whether that is this year or even decades ago.
Just in case you had forgotten, and I had until just this evening, reacquaint yourself with Thin Lizzy's first album released on Vertigo in the UK (on Mercury/Phonogram in the US), which was 'Nightlife' (1974). It is readily, and cheaply, available on CD and it sounds as good now as it always has. If you can be bothered to track down an original vinyl copy, and that is what I'm listening to right now (actually an original Mercury one from the USA), then all I can say is good for you! This another temporary image and I'll try to add a better one later this weekend.
That's better - 17th November.

This is the 1974 US version of Nightlife as released on Mercury.
[Click on it for a larger image as is now a common feature here.]

'Live and Dangerous' (1978) still remains one of the best live albums I've got. There are indeed many who would say that it is one of the best live albums ever - see numerous reviews on-line - and I have to say that I'm pretty much down with that. It is also serves as a fine compilation of their best output from Nightlife up until that point!

Here is a more difficult challenge - but it is purely as a matter of fun - and that is to try and divine what kinds of music and maybe even (if I/you/we were feeling brave) those artists that will be big in 2008!

Down Memory Lane... my 'want to listen to' list - part 3

My 'wants' list gets no shorter but I have got used to that now. Here is one more:

Fireworks Night - 'As Fools We Are'
(Kartel Records/Organ Grinder, 2007.)

Usually, and like the example above that falls in the acoustic/lo-fi category I guess, it is new or at least recent items that get added but last week there was an exception or actually two.
On Friday a work colleague and I became involved in a conversation that, one way or another, ended up turning to the influence that late 1970s German electronic music had on Ultravox in the Midge Ure era. I'm sure this is exactly the kind of thing that everyone discusses at work on a Friday afternoon but it was diverting anyway :-)

At the time Midge Ure was recruited to Ultravox he was touring with Thin Lizzy as a stand-in guitarist on their tour of the album 'Roisín Dubh - Black Rose - A Rock Legend', so something of a change of style there!

We both agreed that this was the period 1980-4, and that the 1986 album 'U-Vox' was utter cr*p. I even had the misfortune to pay good money to see Ultravox tour this album live at Wembley Arena and it remains as probably the worst concert I have ever endured. That left us with four albums, of which we could both remember the names of the first two (but own usable copies of neither) and also most of the tracks on them. These are:

• Vienna (1980)
  
• Rage In Eden (1981)

As for the second pair, although I knew I had owned both on vinyl for at least twenty years, I couldn't for the life of me remember their titles! We did however, during the course of the afternoon, correctly remember several of the singles that were taken from them! These albums are:

• Quartet (1982)
• Lament (1984)

Clearly it was time to dig these out and listen once again, which I did that evening. The problem with the first pair is that I only ever owned them on cassette tape and it was a unreliable Chrysalis "Two on One" edition at that. I decided to buy both again - on CD this time as these releases include some bonus tracks (including several of the tracks sung in German) - but in the end I didn't. While investigating the possibilities I made a very interesting discovery and thus, to keep my long-standing vinyl albums company, I have ordered them as the original vinyl releases instead. It cost little more than the cost of the CDs in any case.

Note added: 10th May 2007.
The above artwork for 'Rage In Eden' is not that of the original UK LP release by the way - thanks to the people that e-mailed me about this. The two LPs were waiting for me when I got home from work this evening so next week maybe I'll try and review all four albums together.