Yuck... Festival thoughts and other bands

More often than not I write my thoughts ‘live to blog’, or at least something pretty close to that given that the images have to be found and or adapted. Just at the moment I can’t seem to get started, although I know things about which I want to write. I hope you don’t mind that I’m thus minded to invite your comment here. I am cheekily using you as a sounding board – knowing that we share at least a proportion of our music in common – but the truth is I’m really not sure where my boundaries in new music lie.


Wednesday 23 June:
Glastonbury is 40 and, while I’m not going in person, I’m minded to catch as much as I can via the various media sources. Therein lies another problem: like many of you I guess I like much older music and I’m not even sure where that lies for me either. In the last few days I’ve been working my way through more vinyl: those that have particularly caught my attention are ‘LIVE – In Europe – Rory Gallagher’ (1972) and, just this evening, ‘Bruce Hornsby and The Range – On The Southside’ (1988). Two totally different albums but I like them both, a lot. In fact after some cleaning they both appear to be as essentially faultless as any vinyl that you might be prepared to risk playing.
The underlying problem is, and this has become more so over the last few years, that I like more and more new music and also a wider range of music in general. I had long believed that it wasn’t like this! The point here is that I’ve been trying to prioritize those bands appearing at Latitude 2010 that I would most like to see. That there will be unavoidable clashes is inevitable and that is just the way of things. The scarier thing is just how many, not just how many clashes, but just how many acts including the perhaps lesser known ones that I am already aware of. Previous years have been notable for my seeing ones that I was completely unaware of – that is a joy of live music – and some of them are now rather better known.
Of course I want to see ‘Florence And The Machine’, headlining the main stage on Friday, but also many others less well known. Acts as diverse as ‘Laura Marling’ and ‘Crystal Castles’, both on the (main) ‘Obelisk Stage’, are almost certain to clash with other acts, on lesser stages, that I also want to see. There will indubitably have to be some tough decisions made…
I have a long list… the problem is that I know it cannot be fully realistic, not least as I do not have the set times, but even then certainly not fulfilled.
I want to see 'Yuck’, a good band name if ever there were one and it has a blog too, ‘Esben and The Witch’ and plenty of others. What is perhaps more interesting, at least to me, are the as yet less widely known bands that are well and truly on my 'must-see' list and those as yet unknown to me.


Thursday 24 June:

The first bands are just taking to the small stages at Glastonbury as I write from a location that is just twelve miles away as the crow flies. The thoughts always come round to weather - and the mud that comes with it - when Glastonbury is mentioned.
Let me tell you this: It is 9pm and I've just been outside to take a look at a Wedgwood Blue sky with hardly a white cloud as appliqué decoration. It is warm, about 20ºC/68ºF, virtually calm and if that is not perfectly wonderful festival weather then I can't imagine what is. It is predicted to remain thus for the duration too, with just the possibility of a thundery shower on Sunday afternoon, and by then it might well be welcome relief.
I've plenty more to add, and I intend to watch as much Glastonbury coverage as I can this weekend, but this will have to do just for now.

Gray or blue?

Someone asked about the lyrics to this song by Jaymay, 'Gray or Blue', earlier this afternoon. As it happens it is a favorite of mine too and one of the less complicated ones as luck would have it: this is currently the best I can do.


Gray or Blue
I feel so helpless now
my guitar is not around
And I'm struggling with the xylophone
to make these feelings sound.
And I'm remembering you singing
And bringing you to life 
And it's rainin' out the window
And today it looks like night.
You haven't written to me in a week
I wonder why that is.
Are you too nervous to be lovers?
Friendship's through with just one kiss?
I watched you very closely
and I saw you look away.
Your eyes are either gray or blue
I'm never close enough to say.
But your sweatshirt says it all
With the hood over your face
And I can't keep staring at you mouth
Without wondering how it tastes.
And I'm with another boy
He's asleep; I'm wide awake.
He's tried to win my heart
But it's taking time...
I know the shape of your hands
Because I watch them when you talk
I know the shape of your body
Because I watch it when you walk.
And I want to know it all
But I'm giving you the lead
So go on, go on and take it
Don't fake it - SHOOT.
It hurts me. Are your eyes gray or blue?
Make a move. I will not make a move.
If you don't then I'll not make a move
And if that's so we will both surely lose.
Don't second guess your feelings
you were right from the start.
And I noticed she's your lover
but she's nowhere near your heart.
This city is for strangers
like the sky is for the stars.
I think it's very dangerous
if we do not take what's ours.
I'm winning you with words
Because I have no other way.
I'd love to look into your face
Without your eyes turning away.
And last night I watched you sing
Because a person has to try
And I walked home in the rain
As a person cannot lie.


To be honest track #6 'You'd Rather Run' would, despite its rather simple sounding guitar accompaniment, be a far greater challenge. Consider this: 'Gray or Blue' is just 3:25 and manages to include all the lyrics above and 'You'd Rather Run' is 9:50 in length.
I believe that Jaymay is currently scoring a film and it's hard to think that it will be anything other than art-house but none the less worthwhile for that...   It might not be easy, indeed the album Autumn Fallin' is not, but if you like a challenge it is a near-as-perfect example of New York creative intensity. In many ways the strange ambiguity of the album title says a great deal.

Revenge and return.

Fefe Dobson is, sine qua non, the artist who has bought more folks to this blog than any other.  Some others have more recently given her a run for the money but they are not even close as yet!

That her first, the self titled Fefe Dobson and to date only released album, pre-dates this blog by almost three years may therefore come as something of a surprise.

Her second album would have been Sunday Love but her label dropped her after it was recorded and just before its release. Things come and they go, sometimes in strange ways.

The track-list for Joy is this. The release date soon, July I believe:

1. I Want You

2. Ghost

3. Watch Me Move

4. You Bitch

5. Thanks For Nothing

6. Can't Breathe

7. Didn't See You Coming

8. Let's Go (Turn It Up)

9. I'm A Lady

10. In Your Touch

11. Set Me Free

12. Joy

Many thanks to 'Angel' for much of the above information and to everyone else who has made this one topic the most sought after over the last three years.

Alela & Alina - Matty Groves... live

This is why festivals matter.  It has taken me nine months to finally track down a physical release, which is rather tardy on my part.  To hear it live first is just awesome compensation and so, simply because I can, here are Alela Diane and Alina Hardin performing 'Matty Groves' live at EOTR 2009.

New Music 2010 - Part 11

Where to start?  It goes like this as often as not.  After what seems like weeks of waiting a whole host of new music impinges on my consciousness at once; it is not all about the music it is in part about me.

This one I can't wait to hear but the release date is  September 13 in the UK (a day later in the US and their native Canada).  I am, however, off to both Latitude and End Of The Road festivals and this band is performing at both of them.

Wilderness Heart - Black Mountain

This is the third album from the prog/psych outfit from Canada, a band that I have long wanted to hear live. Now I have two chances and the opportunity to hear some of the new material before the release of the album.  This band has also spawned two side-projects - Pink Mountaintops and Lightning Dust - and I'm rather hoping that the 'secret stages' at EOTR might provide an opportunity to catch either one or both of these (please).

Those heading to Leeds/Reading Festivals will have the opportunity to see the band that, almost single handedly as they headlined Sunday at Latitude 2007, convinced me that I needed to go to a festival again and that band is of course Arcade Fire.  

 They release their third full length album, The Suburbs, on August 2 in the UK.

Whatever you currently think of their music I can pretty much guarantee that you will see an incredible performance.  It is no coincidence that I am still going to festivals three years later and would like to add more to my schedule if that proves possible.  Enjoy!

This only covers part of my interest in music and only part of that which comes from Canada. My first thought about this is 'help, help and rescue!' but, on the other side of the coin, that leaves a whole load more new music for another post or three.

At some times I only want to listen familiar music while at others I really want to discover new music including new acts and new genres.  It would be really useful if I could understand why this is.

Eurovision 2010 live - part 2

Thank you to 'The Voyeurist', who commented upon my first post about Eurovision 2010 in which I didn't make it clear that what I posted were only some of my live musings and, specifically, I did not include the entry from Serbia.  That said here are most of the rest of those notes that I did take and it does include a brief note on the Serbian entry... 

I simply didn't have the time to write everything I might have done just on a single listening and certainly not the fascinating lyric highlighted.  What I will say is the Balkan influence on much western European traditional music is centuries, perhaps even far more than a millennium, older than Eurovision. 

The entry from Moldova caught my ear too. Another entry that I commented on is that from Albania and that is not merely a comment on the fact that it was a good shot from a nation so recently integrated into Eurovision.  If I had to choose one song to plug from the whole competition then this would be it - what a wonderful fusion of apparently incompatible influences.  Expect this kind of thing anywhere, and everywhere, across Europe soon.

We (in the UK) complain about the Eastern European influence (in Eurovision terms) in recent years but, on the latest evidence, I'm coming to like some of it.  The problem is ours: we can do great music but when it comes to Eurovision we are always something like a decade behind.

You can find any number of similarly minded, and very successful, artists and acts in the UK at the moment but why would they want to risk their reputation by participating in Eurovision?

It is a sad state of affairs, as regards the UK, but it is no reflection on the the Eurovision Song Contest itself and this might seem to be a very curious place to start to explain why...

The album is ostensibly Celtic folk and this my example of it, Polydor 'SUPER 2383 301' of 1974 and thus on vinyl. Several tracks on it are taken from North American renditions of folk songs and two others are interpretations of Romanian folk tunes. The thing is that there isn't a huge musical gulf between any of them...

It also includes 'P stands for Paddy I Suppose', a track that I rather like and one that has also been covered much more recently.

Remember this album? What has happened to...

That it is a long while since I have written one of these posts had occurred to me quite recently but at this time, although those that I have written have been quite well received, writing to order is not really something  I seem to be able to do.  That is unless somebody asks, or says, something that lights a spark.  That can be a direct thing or one that simply puts me on a new train of thought.  That happened just now, in both ways one leading to the other, and resulted in the searching of the dustier depths.
This album I have had for the better part of a decade but have not listened to for some years until now and then three times in succession - something that I admit I'm a bit prone to do - but that's just me and music.

It might just surprise you that I think it remains relevant; it surprised me too.

The following is another one that I found in the deepest, cobweb encrusted, recesses of my CD music collection and it was there for a reason I think but I pulled it out, dusted the case, then opened it and put the CD in the machine.  It played like new of course and with some good reason...

I don't expect that it had been played more than two or three times before and I remember now that I really didn't much like it then. That was a long time ago and so it seems that there is a reason for not getting rid of music after one or two listens and, while I agree that it is not going to change the world now, I've listened to it several times this evening and that has rather changed my perception.
These albums are from 2001 and 2003, respectively, but that does not tell you what either of these these artists are, or might be, plotting in 2010. That will have to wait for now...

Eurovision 2010 live thoughts...

I've tried to write about Eurovision after the event before and it never seems to work out.
This time, apart from mentioning that I think that Norway put on a very impressive show with its use of lighting and the transparent stage, here are some of my thoughts, written live in pencil and on the back of the cover letter to a gas bill.

It'll be hard to read, harder still to understand, but that is the price you pay for what was very much live commentary.  There was good and there was bad and then, in the case of the UK contribution, the utterly forgettable.
As you can see I had not done much advance planning for this new concept beyond having 'an old Neil Young record and a bottle of red' to hand in case of emergency: a ploy suggested by Thea Gilmore on 'Harpo's Ghost' (2008).

'Between Day and Dream' or 'The Drifter and the Gypsy'

To whosoever asked if I think that two of the problems in the music industry are the lack of new artists and the hegemony of the four major labels. I am delighted to say no; rather the opposite in fact and this is why.
I was then challenged to name five acts or artists that fall in to this category and in the specified musical theme, which was female vocals and a principally acoustic milieu.  I decided to narrow it down to just five nascent New York based female artists or female-fronted acts - vaguely following the theme of yesterday's post and that actually turned out to be much more difficult than I thought it might be but not for the reason that I had anticipated.
Lack of choice was not the problem; to do so from a short list of (just) twenty was a challenge and isn't the real issue rather the opposite of the question that was asked? Plenty of talented artists who are either not signed at all or, if they are, to progressive independent labels. In my opinion independent labels are the future so that aspect is not a problem at all.

These are the five that I chose in no particular order. It was a tough call, often hearing only a song or at most two from each contender, and I intend to pursue this theme in more detail soon. I'm not aware that any of them are currently particularly well known in the UK.

Rachel Platten
www.myspace.com/rachelplattenband/

Sarah Solovay
www.myspace.com/sarahsolovay/

Rachel A. Brown
www.myspace.com/rachelbrownmusic/

Rosi Golan "The Drifter and The Gypsy"
www.myspace.com/rosigolan/

Chloé Temtchine "Between Day and Dream"
http://www.myspace.com/chloetemtchine/


Now imagine had I tried to do the same for the of the other thirty-something regional categories, in just this one exposition, what other treasures might I have found?  That is my inspiration.

New Music 2010 - albums, festivals and things

Don't second guess your feelings

you were right from the start.
And I noticed she's your lover
but she's nowhere near your heart.

This city is for strangers
like the sky is for the stars.
I think it's very dangerous
if we do not take what's ours.

It is true that I have written little in the last fortnight but that is in large part because I have been listening to and reading about new music. But not just new music, as the above lyric implies...

Some cities come round again and again; and New York is one of them. Only by luck did I happen to catch some of Jamay (Jaime Seerman) at Latitude 2007 - I had never heard of her then but the lyrics above are from 'Blue or Gray' on her album Autumn Fallin'. One that I then bought and have never forgotten. In many ways I am far better informed these days, which is mostly good, but the thrill of discovering quite unknown acts at a festival is not something I would wish to forgo. Another New York band, that I am already aware of so the foregoing does not really apply, is this:

The Pains Of Being Pure At Heart, recently added to the line up for Latitude 2010, is one I'd much wished to hear live though did not expect to and this was, in my opinion, one much under-rated album of 2009. 
Levelled against it is that it is not particularly original - shoe-gaze circa 1986 being something I read as a criticism. Well the band members are certainly not old enough to remember that first time around and so, although it seems to have passed me by, I see no reason not to take it at face value now and given the more recent EP (the excellent 'Higher Than The Stars') it is something that I'm now even less inclined to concern myself about.

Lonely Is The Word

Lonely Is The Word

It's a long way to nowhere
And I'm leaving very soon
On the way we pass so close
To the back side of the moon

Come join the traveller
If you've got nowhere to go
Hang your head and take my hand
It's the only road I know

Oh, lonely is the word

I've been higher than stardust
I've been seen upon the sun
I used to count in millions then
Now I only count in ones
Come join the traveller
If you've got nowhere to go
Hang your head and take my hand
It's the only road I know

Got to be the saddest sound I've ever heard
Yeah, lonely is the name
Maybe life's a losing game.

Ronnie James Dio (July 10, 1942 - May 16, 2010) holds a remarkable place in heavy metal and heavy rock history. When Ritchie Blackmore walked away from the extremely successful Deep Purple to found a solo project, as he felt his bandmates were taking a bad direction, he was doubly fortunate. Firstly he was able to recruit RJD to his band that would début with the album 'Ritchie Blackmore's Rainbow' in 1975. It was phenomenally good, very influential and there were three things that really matter here:

• Blackmore and Dio clicked, sharing similar ambition.
• Blackmore could write heavy rock music, Dio could both write and sing the lyrics to go with it.
• They were both phenomenal virtuoso guitarists, giving Rainbow something that Deep Purple never quite had.

Rainbow were to record three almost flawless albums with Dio, during the UK Punk period that was then making life very difficult for heavy rock/metal. That was not to be the end of Dio however for when Ozzy Osbourne quit the increasingly fossilized Black Sabbath the others quickly recruited him and the result was another remarkable album.
The Black Sabbath albums, 'Black Sabbath' and 'Paranoid' (both 1970) still stand the test of time but so does 'Heaven and Hell' (1980), which marked a return to favour for the band and another level of achievement.

Music and arrangement is credited to all four band members, and it is something of a departure from the previous albums, but all lyrics are credited to Dio - and in those it shows. Never before had Sabbath revealed something so credible, yet elegantly elegiac, as Lonely Is The Word. It is the last track on 'Heaven and Hell'.

More importantly, given his track record, and I feel that this issue is understated in importance as well as the second in which Blackmore was prescient; Dio was an American in a genre that until that point had been largely been dominated by either UK or German (sometimes co-operative such as UFO) heavy rock/metal. Had that not been the case then I rather doubt that the situation would be as it is now, on either side of the Atlantic.

We sailed across the air
Before we learned to fly
We thought that it could never end
We'd glide above the ground
Before we learned to run
Now it seems our world has come undone.

I can only try to imagine how much time I spent listening to music like this in my college years and now I don't regret it for a moment.

We can but mourn knowing

Heaven rocks tonight.

Thoughts on blogging

If this seems a strange post then please let me explain...

There seem to be many new recruits to this part of the social network revolution in the last few months. Many of them have just started, written one or two posts, and then started to ask questions about blogging. I have, either directly or not, been on the receiving end of some of them...

Many things are common to all internet activities:

• Don't give personal details recklessly. If in any doubt at all then don't.
  
• Never EVER give bank details, passwords or anything similar.
• If something or someone concerns you, report it AT ONCE.

If you allow comments to your blog, and I do because I think it important that people can comment, then I suggest you choose settings such that you get to review and approve or delete (moderate) them before they appear. I have not yet (in 3½ years) had to delete one because it was in any way offensive but I have declined to publish a few that were totally irrelevant. Others comprised links composed of Chinese script, the content and relevance of which I am unfortunately unable to judge on merit, so I had no option but to reject in ignorance.

Remember:

• It is a two way game. Trouble is generally found where trouble looks.
• Having opinions is what a blog is all about but not everyone will agree with you.
• If you are reasonable and principled then your respondents will probably be likewise.

If that all sounds a bit gloomy, and rather like advice that you heard at school, then I apologize! Blogging is great. I started out of curiosity and never, ever thought that I'd keep it up beyond a few posts.

That was in September 2006 and I have thus found way more music than I would otherwise have done; of that there is no doubt.
Although indirectly, because I was reading and writing about music, I have met so many people often in the real world as a result of my blog. If I had not started it I doubt that I would have committed to going to festivals again...

As this, when I click 'PUBLISH' [and if you are reading this then I have and it has worked], will by my 452nd published post and I'm beginning to think that it wasn't a mistake to start. I also read a lot of other people's blogs now, so just blog if you want and if it suits you keep it going...

Richard

Fields of June - lyrics

I detect a theme this week and if the prominence of lyrics of tracks by Emily Barker and The Red Clay Halo is surprising you - the requests for them are certainly surprising me - then please, please try and track down the two albums. This track, Fields of June, is from the earlier of the two and that is Photos, Fires, Fables. It is unusually a call-response duet; the male vocals are provided by Steven Adams of The Broken Family Band while Emily sings the female ones and also plays banjo.

Fields of June

The sky is grey now not blue, she doesn't love me like she used to
there's a cold wind blowing in these trees along the track
She doesn't love me love me like she used to.

Today I told my darling in the fields of June
that I do not love him like I used to
Well the wind began to blow and the sky turned from blue
when I told him that I do not love him like I used to.

Chorus 1:
I burnt my hands trying for our love
and I broke my nails too
so now do not accuse me of going back on our vow
I'm gonna bury you in the fields of June.

How the hell did it ever come to this? How does she not love me like before?
I'm lonely and I'm sorry and I don't know what to do since she told me
that she doesn't love me used like she used to.

Well baby I have reasons that you never listen to as to why
I do not love you like before
And you might be sorry and not know what to do but don't
bother me for I do not love you like I used to.

Chorus 2:
But I broke my hands trying for our love
and if you go I'll split in two
so don't you leave me now and don't go back on our vow
and don't you bury me in these fields of June.

Chorus 2: (repeat)

This Is How It Its Meant To Be - lyrics

Nostalgia - lyrics

Emily Barker and The Red Clay Halo, live at EOTR 2009

Hi ho voter priming.

We have, here in the UK , for better or for worse just elected a new government. Voting closed a couple of hours ago and at this time we have no idea what we have done or indeed any clear consensus of what, as a nation, we wished to do... It is going to be a long night and who can predict the outcome? It certainly matters but, importantly, I just love election night even when the result is generally predictable. It is the best, and shortest, reality contest!

It is well summarized by the title of the 2001 album by Seattle band Death Cab For Cutie: 'We Have The Facts And We Are Voting Yes'. Words that sensibly tell us everything in general and nothing in particular; so thus nothing has changed and yet there could be words of wisdom within.

There's nothing new (and with apologies and appreciation to Scott English and Larry Weiss for the lyric to their 1967 song) but, trust me - heard that before? - that this is multi-partisan and applies to all of them, even the maleficent man in his flying machine: strange transport related accidents can strike at any time.

[For older readers only: David Cameron and Nick Clegg are both younger than I am.]

Hi Ho Silver Lining

You're everywhere and nowhere baby, that's where you're at
Running down a bumpy hillside, in your hippy hat
Flying across the country, and getting fat
Saying everything is groovy, when your tires are flat

And it's high ho silver lining, no matter where you go now baby
I see your sun is shining
But I won't make a fuss, though it's obvious

Flies are in your pea soup baby, they're waving at me
Anything you want is yours now, only nothing is for free
Lies are gonna get you someday, just wait and see
So open up your beach umbrella, while you're watching TV

And it's high ho silver lining, no matter where you go now baby
I see your sun is shining
But I won't make a fuss, though it's obvious

And it's high ho silver lining, no matter where you go now baby
I see your sun is shining
But I won't make a fuss, though it's obvious

And it's high ho silver lining, no matter where you go now baby
I see your sun is shining
But I won't make a fuss, though it's obvious

And it's high ho silver lining, no matter where you go now baby
I see your sun is shining
But I won't make a fuss, though it's obvious

Tomorrow is another day and another download. Next Sunday's UK #1 single anyone?

There's a blackbird singing. It's the coming of the spring.

Oh lyrics, oh lyrics!
It is always interesting when someone pitches a question about lyrics and this has been some week for that! Of course this is none more welcome than when they are by an artist or act that I really believe should be better known - in this case Emily Barker and The Red Clay Halo.

Blackbird

There's a blackbird singing from a winter tree and his tune is soft and
haunting, it's the coming of the spring
All the leaves are being restored and the vagaries getting bored
there are new dreams on the way.

There's a road that I walked down just the other day
and it forbid me turning around, I admit I lost my way
and then I heard you like a whisper, telling me to keep on straight.
that mistakes are like like dirt and in time they'll wipe away.

There's a clock and many seas that come between you and me
but the hours are weak and the water isn't deep.

There was an arguing ensuing and I was in the wrong
there were words being thrown like bullets from a gun.
And then into the equation shone the light of your good self
everything was redeemed, you put that fight on the shelf.
And now those valley stars shine like a jury up above
and when I don't know where I'm at, at least I know

where I'm from...

[Chorus]
I need you to love me
And help me when I'm losing
And in return I will love you
and help when you don't win.


There's a leaf that is skirting across the pavement grey
you're the soul beneath my shoe and you ride the words I say
and when the blackbird sings he reminds me from his tree
that we always gain more than we lose though at times
it seems the other way.

There's a clock and many seas that come between you and me
but the hours are weak and the water isn't deep.

[Chorus]

If you have any doubt about just how good this is then try and catch them live.

Emily Barker and The Red Clay Halo live at End The Road Festival 2009.

If it comes to casting a vote for those that deserve to be given a chance on the greater stage then I'm not unwilling to nail my flag to a tree. Music certainly is not politics but at their best, in their ability to unite or divide, they aren't that different either.

This Is How It Its Meant To Be - lyrics

Nostalgia - lyrics

Emily Barker and The Red Clay Halo, live at EOTR 2009

Fields of June - Emily Barker - lyrics

Hada de las flores

As we seem to be much involved with song lyrics here is another, except that it is a poem by Peruvian José María Eguren (1874 - 1942).

Thank you for bringing this to my attention, which is hardly something that would have happened otherwise and it is some time since I have indulged in foreign language lyrics. I'm not sure how or why we ended up here but then that is part of the pleasure of writing a blog.

You have to believe it, as I do, because if it were any other way I'd have quit after the first few posts just like I thought I would!

LA NIÑA DE LA LÁMPARA AZUL

En el pasadizo nebuloso
cual mágico sueño de Estambul,
su perfil presenta destelloso
la niña de la lámpara azul.

Ágil y risueña se insinúa,
y su llama seductora brilla,
tiembla en su cabello la garúa
de la playa de la maravilla.

Con voz infantil y melodiosa
en fresco aroma de abedul,
habla de una vida milagrosa
la niña de la lámpara azul.

Con cálidos ojos de dulzura
y besos de amor matutino,
me ofrece la bella criatura
un mágico y celeste camino.

De encantación en un derroche,
hiende leda, vaporoso tul;
y me guía a través de la noche

la niña de la lámpara azul.

Alpha Shallows

Another lyric asked for...

Alpha Shallows

He could fall and shake and weep
By his holy are my feet
And heart with mention the dear that may not speak
We feel tight when there is tension
And our eyes can make us weep

And his heart was full of fire
And the man he had become
And his soul was seldom higher
With the falsities of fun
Could embrace sweet desires in moments as they pass
But he feared ever more. He saw it didn't last

We walk up Holland Avenue
And watch the rich as they consume
That product made our hearts exhume
An emptiness unrivalled by
The Hunger that could control
He'd pray up to his God that he might save their soul.

The grey in this city is too much to bear
The grey in this city is too much to bear
And I believe we are meant to be seen
And not to be understood

And I want to be held by those arms
I want to be held by those arms

You'll work your thumbs 'till they're sore
And you'll work my heart until it's raw
And you'll call, and you'll call, but you'll never be told
And I'll fall and I'll fall and I'll fall
And I'll fall and I'll fall and I'll fall

We are basic light, we are basic light.

She Walks Beautiful

Lyrics: where would we be without them? Thank-you for asking and this is still my favourite track on the (much under-rated) album 'My Paper Made Men' and was, as far as I know, never a single but in these downloading days who knows what might happen.

She Walks Beautiful
She walks alone
And when she loves her love is her own
She don't need a man
She won't stand by what she can't stand

Like whited walls
You all stand in line
And watch her pass you by
She knows her sins
With humility and reaches for the light.

With aching knees and back
The weight is hard to bear
But she carries it with a smile.

She walks beautiful
She walks beautiful
She walks beautiful
By herself
She walks beautiful
She walks beautiful
She walks beautiful
By herself

She walks alone
She's not invited to parties
So she throws her own
All alone to feel the highs
She bears the lows.

She doesn't call out like the others
In the night
In despair and loneliness.

She walks beautiful
She walks beautiful
She walks beautiful
By herself
She walks beautiful
She walks beautiful
She walks beautiful
By herself
Adieh, adieh, adieh. Aow!

She walks beautiful
She walks beautiful
She walks beautiful
By herself.

Adieh, adieh, adieh. Aow!

This really should have been a single. It would make a rather interesting BBC Radio 1 'live lounge' cover. The thing is I'm not sure who I'd wish to hear attempting a makeover - it could go either way.

For thoughts on the album 'My Paper Made Men' see here:

http://rpgreenhalgh.blogspot.com/2009/03/its-been-long-time-coming-amy-studt.html

Vinyl, for those who have asked...

It pains me to say that, while I'm delighted to discover that so many are still so interested in vinyl, I am often not able to provide the answers requested.

If I could find 'I Speak Because I Can' - Laura Marling (2010) on vinyl then I would have let you know. This is one of the ones that I am asked about most often. I hope that Virgin/EMI will take the hint...
Amy LaVere vinyl is something I can't find either - but recently discovered that is sought-for too and if you know something about any of this please copy it to me too!

Vinyl is not dead but it needs nurturing; independent labels and the likes of us are the future and we have to keep the faith, continue to fight for it and while is not going to be something for just for the short term, that only makes it more worthwhile. It is true that, while not twenty years ago they were commonplace in charity shops and similar, they now deserve a good home.

Demand can make a difference, something that is becoming increasingly apparent, but there are rarities from times long gone that await discovery in dusty attics and the like. If it is offered to you then just accept it gracefully; you can decide what is junk at your leisure and you might just get a surprise.

If you merely wish to listen to 'The Book Of Taliesyn', and I expect that quite reasonably that will be the limit of your ambition, then it is available to download, or on CD should that take your fancy, for a very modest price.

This may appear to be little different from that quite common, but it is up to us to save them from landfill. Yes it is vinyl (T-107) but not all that it seems. In the early days (1967) Deep Purple signed to the small US label Tetragrammaton because the band could not land a deal in the UK. Tetragrammaton went bust just months after this, Deep Purple's second album release, in 1968. Major-label history followed but that was not without its quirks either...

Havoc In Heaven - Festivals 2010

It is time for something more uplifting or, at the very least, forward looking. This is what I intended to post about yesterday but in some ways I'm glad that I never did as I have rather more to add now.
To start with I am going to indulge my liking for American music - the reason being that I feel justified in doing so. I don't feel any compunction about this - UK music is in fine form too, the trade is bi-directional and long may it last for mutual benefit. I'll start my list with artists that I'm looking forward to, and of an acoustic bent. On the UK side these obviously include Laura Marling and Mumford and Sons.

On the American side, and like the above both now confirmed for Latitude 2010, are the following:

The hat is probably more suited to the Manchester climate than that of California?

There have been parallels made in both cases, some of them quite tenuous, with Laura Marling. In all honesty I don't think that either side is likely to have any problem with the other. The really strange thing is that only a few years ago who could have imagined that, instead of hard-core rap, we would be trading banjo-wielding singer-songwriters?

Another artist and a stranger tale still is that of Jesca Hoop. We have long been used to UK artists eloping to the sunnier side of the Atlantic but she has now been co-opted as a Manucunian; the grey skies and drizzle perhaps being more conducive to song-writing? At least there is a good excuse to stay in and get on with it and, when it arrives, the fleeting sun will seem far more precious!
On the other hand hers is not a conventional background anyway; she is from a musical, Mormon family but later trod her own path and in time that included being live-in nanny for Tom Waits and Kathleen Brennan's three kids. Now that is something - Waits' music is challenging in itself, his comments on artists perhaps even more so. I'm not sure if she plays banjo but I wouldn't rule it out...

Lissie, a native of the part of Illinois bordering the Mississippi River, most certainly does and without any need to apologize. She is performing on the 'Sunset Stage' at Latitude 2010. It is tented, relatively small and leaks if it rains, but is actually my favourite... I will never forget seeing Crystal Castles there in 2008 - it was possibly the most frightening live performance that I have ever seen.

Lissie is not going to be scary like that... but the reviews are already quite something and she seems to be setting-up-shop in the UK for what passes as our summer. If you want to catch her live, sooner rather than later, here's your chance.

That is not to dismiss the chance to witness a full set by Sweden's 'First Aid Kit' either. They had to cancel at Latitude 2009 but I did get to see them at EOTR 2009.

They are returning to Latitude 2010 supporting their first full-length album, 'The Big Black & The Blue', and for good reason.

Slightly modernised but only in a way that kept it relevant to the early 21st century their with-no-clever-tricks-at-all live take on 'Universal Soldier', written by Buffy Sainte-Marie and from the album 'It's My Way' (1964), was actually more devastating than it was sublime.

It was received with a resonance that befitted it - awe and total silence - and a rare moment when thoughts from the Cenotaph came to a festival.

Not many can do that and fewer those still in their teens - although many of those killed in The Great War were exactly thus.