take the pills cuelga "El Rey" de Wedding present

KILL TWEE POP!

este es el nuevo fichaje de Slumberland Records. Se llaman Sarandon y vienen del legado ruidista del C86...

su lp se llama "Kill Twee Pop!"

1. Kill Twee Pop! 7. Very Flexible
2. Welcome 8. Good Working Practice
3. Lippy 9. Mike's Dollar [mp3]
4. Remember Mavis? 10. The Discotheque Is My Lover
5. The Completist's Library 11. Mark
6. Joe's Record [mp3] 12. Massive Haircut


“Britain's finest scratchy, abrasive indie-pop trio (circa C86, and not the Bob Stanley/Alan McGee twee/jangly/crap side of that comp either): formed in late 2003, listen to Wolfhounds, Bogshed, June Brides, Josef K, Big Flame, Shrubs, A Witness... "and they sound like none of the above," boasts the press release. Ridiculous! They sound exactly like all the above, and that's why I fucking love them so.” – Everett True, Plan B


Since their formation by Crayola in 2003, Sarandon have marked themselves as a potent group of post-punk tacticians on a mission to save indie from wetness, knee-jerk twee posturing and careless cardigan wearing. Taking their cues from the rough angularity beloved by bands on labels like Ron Johnson and Slampt, Sarandon are the proud parents of a string of five 7" EPs (and one compilation thereof) fairly bursting with short, sharp tunes, wiry riff-mad guitars, spastic drumming and terse-yet-clever lyrics. Trimming all musical and lyrical fat, Sarandon cram more ideas and passion into 1:30 than many bands do across a whole record.
Some points of comparison that spring to mind include Big Flame, The Minutemen, Boghsed, Fire Engines and The Fall, and though Sarandon share some musical DNA with those groups they've also forged their own path and unique sound. Crayola has a notable (and widely-noted) talent for somehow managing to marry naggingly catchy tunes to corruscating blasts of guitar mayhem, combining the punchy, driving tunes with surprisingly memorable melodies and smart lyrics. It's pop, but possibly the angriest and most aggressive pop you've heard.
As we enter 2008, Sarandon have settled on a line-up consisting of Crayola, Tom Greenhalgh on drums and ex-Big Flame/Great Leap Forward legend Alan Brown on bass. Kill Twee Pop! is the first fruit of this new line-up and a mighty record it is indeed. Alan and Tom are an incredibly tight and powerful rhythm section, providing Crayola with such a sure foundation that he's now letting the songs stretch out a bit, one tune even breaking the unheard of (for Sarandon) three minute barrier. Which is fitting as this is the first proper Sarandon album, and it shows them at their itchy, spiky, angular, aggressive, enthuiastic best.
From the chugging "Welcome" to the blues-by-way-of-The Birthday Party "The Completist's Library" to the insanely catchy "Mike's Dollar" and the croon-tastic "The Discotheque Is My Lover", this album is packed with great tunes, recalling the best of 80s post-punk and bringing it bang up-to-date with passion, humor and wit. Kill Twee Pop! is a call to arms for those tired of paint-by-the-numbers indie, a ration of passion in these cynical times, an antidote to your massive haircut, a soundtrack for your next dance party, an updated cubist pop manifesto.

Ya circula el lp

THE LODGER

Leeds’s finest The Lodger are back with a long awaited new single ‘The Good Old Days’, their first on Bad Sneakers and the first single to be taken from their upcoming 2nd album ‘Life Is Sweet’. This release follows on from 3 sold out singles and last year’s debut album ‘Grown Ups’ (Angular Records).

The Lodger were created inside the mind of singer, songwriter and guitarist Ben Siddall in his Leeds bedsit in 2005. Having written and demoed early Lodger tracks on his home computer, Ben recruited two friends Joe Margetts on bass and Bruce Renshaw on drums, and The Lodger was born. Hailing from Leeds, The Lodger have also found themselves on the same bills as many of their Yorkshire peers, including The Kaiser Chiefs, Forward Russia and iLiKETRAiNS, and are favourites at London’s premier Indiepop night ‘How Does It Feel To Be Loved’.

After winning the Rebel Playlist Vote on BBC 6 Music, The Lodger become regular additions on the station’s playlists and also receive support from Steve Lamacq on Radio 2 and BBC 6 Music. The Lodger have also had a featured video on YouTube for their single Kicking Sand which received over 40,000 views, and debut album ‘Grown-Ups’ reached an amazing #65 in Amazon.com’s top 100 albums of 2007, #4 in This Is Fake DIY’s best albums of 2007 and #1 in Click Music’s best albums of 2007. The wait for their new material is now over……

Forthcoming single B-side to The Good Old Days comes in the form of a re-mix by The Slips, a duo (Rob Haggett and David Treahearn) who in their 6 year, 100 working hour weeks, have worked with the likes of Madonna, Gwen Stefani, CSS, Massive Attack, Fischerspooner and Bjork.

Ya está aquí "El Rey"

The title of the new Wedding Present album will be EL REY, which means ‘the king’ in Spanish. The LP, which is being scheduled for a May 2008 release was recorded and mixed in Chicago by Steve Albini. Speaking in the current issue of the UK’s MOJO magazine, Wedding Present head honcho David Gedge says: “I’ve been living in West Hollywood for the last year or so, and while I’m not going to claim that this is my ‘L. A.’ album, there are some references, I suppose. The album themes are lust, jealousy, betrayal, regret, obsession, super-heroes… the usual! We chose to record with Steve this time because the new songs were sounding very guitarry and quite dark. It’s been good. As you’d imagine, really; Albini knows his stuff”. The Wedding Present’s ‘George Best’ album goes on to feature in the same magazine’s list of Top 50 ‘Indie’ records.

To celebrate the new album’s release the band have confirmed that they are to play a full set at the “El Rey Release Party”, a special event taking place at The Corn Exchange, Brighton, England, on Friday 30 May 2008. It will be the band’s first appearance in Brighton in over three years. In addition to ‘Special Guests’ there will be a few other surprises, the details of which will be revealed in future newsletters. It is an ‘all ages’ show [under 14’s must be accompanied by an adult] and tickets are available from: http://www.seetickets.com/?c=299717&filler2=299717

El Rey, the forthcoming album from The Wedding Present, will be released by Manifesto Records in the USA and Canada on 19 May 2008 and in the rest of the world by Vibrant Records on 26 May.

Single redondo (Wake Up The President/The Kingfishers)

Esto es un single de vinilo editado en un sello alemán -al parecer- especializado en pop escocés (yo hasta hoy no había oído hablar de él). La canción de Wake Up the President no la he conseguido (la he escuchado en myspace) pero si la de The Kingfishers, que es una maravilla. El tema es una versión del "Make Me Sad" de Vic Godard (del lp "What´s the matter boy" de 1980), sólo que es mucho mejor que la original, con una bonita voz femenina y con una producción muy indie pop. Como curiosidad decir que los tales The Kingfishers parece que son una especie de banda tributo a Vic Godard ya que en myspace dicen que su próximo disco será otra versión de Godard, también de un tema del "Whats the matter boy", "Watching The Devil"

Aufgeladen und Bereit is a German label based in Hamburg (St Pauli fans I hope) which specialises in releasing Scottish pop records!

Wake The President are at the poppiest they have ever been with You Can't Change That Boy. This is music that if it was made twenty five years ago would have been one of those songs that defined indie pop as a genre. It's like the Smiths being released on Postcard Records with more hooks than an angling centre. Like a fish I rise and greedily take the bait hook, line and sinker!

On the flip side you will find The Kingfishers and their version of Vic Godard's Make Me Sad. Singer Sam Martin's voice has to be heard to be believed. Her voice is fantastic to say the least and she glides her way through the melancholy with ease. It's no surprise to read that Godard is full of praise for the cover himself!

An excellent single and one that's highly recommended.

The single is out now on Aufgeladen und Bereit. Those in the UK can get it from Norman Records. Both sides can be streamed on the respective bands My Space pages.

(indiemp3.co.uk)


Have you got it yet? Wake the President more than make up for the dodgy-looking covers of their first two singles with the new split-single! Well, it's really Aufgeladen und Bereit's sleeve design that does it. Backed with fellow Glaswegians The Kingfishers' take on Godard's "Make Me Sad", "You Can't Change That Boy" raises the bar for the band's studio accomplishments. Now produced by Paul Savage (The Delgados), they're closer to reaching their true potential than ever. They CAN sound even better though, so it'll be interesting to hear how the upcoming full-length turns out!

(heavenisabove)

Más sobre la visita de Dan Treacy

en el blog del crítico David Saavedra, ha colgado esto

Dan Treacy estuvo en el Tony 2
La del sábado fue una de esas extrañas noches que probablemente queden en mi memoria bastante tiempo (aunque de esto último no estoy completamente seguro). Mi intención inicial era simplemente ir al concierto de Be Your Own Pet al Moby Dick y volver a casa, pero todo se confabuló de un modo un tanto extraño.

La cosa comenzó con el subidón de adrenalina provocado por esas bestias pardas de Nashville. En 40 minutos resolvieron un concierto plagado de intensidad. La brevedad del show fue una gran noticia: aún daba tiempo de ver a TV Personalities y, además, una gente conocida nos comunicó a Calros y a mí que iban en coche y que tenían sitio.

Poco antes de las 12 de la noche, estábamos en San Blas, en el auditorio de un parque donde casi diría que había más policía que público. En una noche fría y lluviosa, ver aparecer allí a la banda liderada por Dan Treacy (ya sin Ed Ball pero con el batería de The Creation en sus filas) tenía bastante de surrealista. Aún más, si te imaginabas lo que estarían pensando los asistentes del barrio (el concierto era gratis) al ver aquello.

El primer concierto de TV Personalities en España (aunque Treacy afirma que no, que ya tocaron antes, pero no recuerda cuándo ni dónde) fue un puto desastre. Comenzó más o menos bien hasta que el hombre -cuyo pasado reciente incluye una época como 'homeless', enfermedades, cárcel y adicciones- empezó a no dar pie con bola, a equivocarse en las canciones y enfadarse con sus compañeros de banda. Al tiempo que pedía al público "respeto para TV Personalities", él no se lo hizo ganar en ningún momento, y ofreció un sonrojante espectáculo muy poco digno de su gran legado discográfico.

Tanto, que nos fuimos antes de que terminara. Luego nos comentaría alguien que Treacy decidió finalizar el concierto con una versión de "White Riot" de los Clash en homenaje a la abrumadora presencia de las fuerzas de seguridad. Durante el recorrido en coche, pasé por La Elipa por primera vez en la vida, un chico como yo en un lugar como ese. Peregrinaje por un par de locales de Malasaña (había amigos por ahí y además se terciaba comentar la jugada) hasta que alguien nos avisó de que fuésemos al mítico Tony 2. "Estamos con Dan Treacy" fue la frase de reclamo.

El Tony ya no es lo que era. Sigo pensando que deberían dedicar una silla honorífica a José Luis Coll, en la esquina en la que él siempre se colocaba. Pero el sábado estaba invadido por un público modernillo -habitual de un famoso local de Malasaña actualmente acosado por las continuas intervenciones policiales- y que ha bajado la media de edad habitual de allí hasta la mitad o aún menos. En uno de los sillones, el vocalista del grupo más famoso de Granada mantenía una larga conversación de fan con Treacy, impertérrito con su gorro y con la parka que, al parecer, le donó el jefe del sello que editó su último álbum en España, también allí presente. Más gente del mundillo pululaba por allí, entre ellos, el cantante de un dúo de tontipop español que llevaba unos años sin grabar pero que ahora vuelve y, en la zona del piano, un joven actor español -ya no tan joven- que debutó en una peli cuyo título se refiere a una forma de masturbarse.

Le comenté al cantante granadino si le molaría escribir algo sobre su conversación con Treacy para una revista en la que colaboro, pero me dijo que no había sido suficientemente interesante. El británico, no obstante, parecía más tranquilo y centrado que unas horas antes en el concierto. A la salida, por cierto, el de Granada decidió que invitaba él. "He ganado mucho dinero en royalties plagiando a este hombre", justificó. "Pero si ellos son conocidos en España son, sobre todo, gracias a tu grupo", completé. Por el camino, alguien me dijo que me había perdido un gran momento fugaz, cuando, al parecer, Treacy se acercó al piano y cantó "See Emily Play".

Todo llevaba camino de terminar en un after casa, probablemente en la del cantante de tontipop, también actual instrumentista mercenario en un grupo que se llama igual que una ciudad polaca. Pero no, en uno de sus últimamente tan habituales golpes de efecto, Calros decidió que lo mejor era ir al Puente de Vallecas, donde unos amigos celebraban un cumpleaños masivo en un 'loft' que alguien utiliza como estudio fotográfico. Previa invitación a los supervivientes del Tony 2, que ellos rechazaron amablemente (la palabra "Vallecas" reconozco que echa para atrás, especialmente a esas horas de la mañana).

Eran los últimos estertores de la fiesta, aunque su inercia se alargó hasta las 10. En los últimos minutos, con el suelo ya pegajoso, las colillas y los vasos rotos invadiéndolo todo y los ánimos bajos, aún tuve fuerzas para pinchar algunos temas. Entre ellos, "There Ain't No Cure For Love", "Like A Hurricane" y "Where Is My Mind".

Por cierto, antes de que alguien me pregunte por qué doy algunos datos claros y otros indirectamente, es un simple y llano recurso literario que me hace gracia.

Frase del día: "Si conviertes a alguien en ídolo le despojas de su humanidad" (Jarvis Cocker)

Stanley sobre Laura Nyro y Robert Forster en The Times

4 estrellas sobre 5:

This is Forster's first album since the death of Grant McLennan, his partner in the Go Betweens for 25 years. McLennan's spirit infiltrates pretty much every song, with From Ghost Town and It Ain't Easy (“I write these words to his tune, that he wrote on a full moon”) direct tributes. McLennan tended to write the softer songs, Forster the more forthright and anguished. Yet the songwriting divide wasn't always that clear cut - both leant towards Carver-style storytelling - and Forster has adopted more of his late friend's spare style. Don't Touch Anything has a Blood on the Tracks intensity, while Let Your Light in Babe features sly prose to rank alongside the Go Betweens' best songs.

4 estrellas sobre 5

The fanfare of a title is justified; though few noticed in 1966, Laura Nyro was genuinely the first of a new breed - the female singer-songwriter - whose time was still several years hence. With her voice pitched between Dusty and Broadway, even future classics such as Wedding Bell Blues and Stoney End were too much red meat for mid-Sixties radio. Nyro hated her debut, feeling she had been hemmed in by Herb Bernstein's pop-soul arrangements, but the mix of his efforts and her soulfulness remains spring-fresh.

(Rev-ola, TMS £8.99, call 0845 6026328)

Action Biker - "Hesperian Puisto" (Friendly Noise Records)

It really is time for Action Biker’s first solo album! It has now been six years since she emerged as an artist doing fun and popular live shows and releasing CD-R’s in the indie pop scene of Gothenburg, Sweden, which included people like Jens Lekman and The Honeydrips. Since then, Sarah Nyberg Pergament has been involved in other projects, such as Flow Flux Clan, Kissing Mirrors and The Dreamers, whose record “Day For Night” has received great acclaim from different places around the world. Over the years, Sarah has also performed lots of Action Biker shows (some, as an opening act for Le Tigre and The Embassy), contributed to recordings with Lars Blek (The Field), Differnet and The Honeydrips, and all this time, new recordings with Action Biker have popped up on compilations and singles.
In brief, when “Hesperian Puisto” finally is released, it means the début of someone with a lot of experience… The record is named after the Hesperian park in Helsinki, Finland, where Sarah lived for a while. She describes her music as baroque on synthesizers. It is pop music built on complex naivety – altogether very accessible music with distinct vocals and a crispy, sweet, analogue sound. Two great-looking videos are also included on the CD.
References and Influences: Young Marble Giants, Broadcast, Dislocation Dance, Moondog, Virna Lindt, BBC Radiophonic Workshop, Antena, Francoise Hardy, Saint Etienne, Brian Eno, Ghost Box, Stereolab, Fred Astaire, Maurice Ravel, ESG, Komeda, Cluster, Flying Lizards, Syd Barett, The Passions, St Christopher, John Barry, Can, Human League, Colleen, Marine Girls, Eric Dolphy, Telex, George Delerue, The Wake, Kraftwerk, Lori & The Chameleons, Differnet.
Katja Ekman’s liner notes for “Hesperian Puisto”.
With a voice like Spring, and always dancing. So far, the myths that flourish about Action Biker all agree. But pinning her down has proved difficult. Contradictory accounts associate her with the North and the West respectively, giving rise to strange conjectures. Following sightings of Sarah walking through Hesperian Puisto, she has been connected with the Hesperides, those guardians of a tree of golden apples in a grove at the western border of the Ocean. These were renowned for their sweet singing. Rumoured the daughters of Night, they inherited her influence over creation. According to another theory, they were sisters with Calypso, making the Evening Star their grandfather.
A link can also be traced to a race of Apollo-worshippers in the far north, in short: fans of sun, music, and poetry residing somewhere past the North Wind. Legends resounding with the beat of drums tell us of their questionable ways to happiness, while certain documents, now lost to us, mention much simpler causes for rejoicing (late night kitchen dancing, shopping ingredients for peach pie and so on).
However, the dominant impression left by Action Biker has to do with the artistic refinement of her mind; her intense ability to dream; her gift for hearing music where others would not. The image is one of fearlessness, of unending playfulness.

Más sobre The Last Shadow Puppets

The Last Shadow Puppets

Alex Turner (The Arctic Monkeys) junto a Miles Kane (de un grupo nuevo que -creo- no ha sacado todavía nada llamado The Rascals)acaban de editar su primer lp bajo el nombre de The Last Shadow Puppets y suena bien la cosa. Intentan recrear los discos de Scott Walker con la ayuda de James Ford (productor y miembro de Simian Mobile Disco)y del arreglista (y responsable de las orquestaciones de Arcade Fire) Owen Pallett.

abucheos para Tv personalities

REPORTAJE

El esperpento se llama Dan

El cantante de TV Personalities sale abucheado del festival Cultura Pop


ABEL GRAU - Madrid - 20/04/2008

EL PAIS


Si algo quedó claro ayer en el concierto de Television Personalities es que su líder, Dan Treacy, no es un animal escénico. Que saliera a tocar con la mirada perdida no presagiaba nada bueno. Primero fue que la guitarra no estaba afinada, luego que le molestaban las luces, y al final que parecía olvidarse de las canciones. Y cuando se acordaba su entonación casi hacía desear que mejor se hubiese olvidado.

Los cerca de ochocientos asistentes reunidos bajo el techo ondulado del auditorio del Parque del Paraíso, en San Blas, no sabían a qué atenerse. Los abucheos no tardaron en llegar. "Yo os quiero más a vosotros", soltó Treacy, ante la mirada de circunstancia de sus compañeros.

Y eso que había expectación por ver al factótum de Television Personalities. Son uno de esos grupos subterráneos cuya influencia se puede rastrear hasta bandas como Arctic Monkeys, e incluso algunos sostienen que los Babyshambles son sus herederos.

Treacy acertó a enfilar un clásico, I know where Syd Barrett lives, una oda al miembro de Pink Floyd que huyó de todo eso. Pero a mitad de canción la memoria le falló. "Venga, ahora vosotros", animaba Treacy al público. Pero no colaba. "Uuuuuuuuh", aullaba más de uno. "De nada, de verdad, de nada", respondía con sorna el autor de How I learned to love the bomb. "¡Va, tío, si quieres subo yo a tocar!", amenazaba un tipo desde la primera fila. El guitarreo de Silly girl devolvió algo de emoción al concierto, pero muchos ya se habían dado por vencidos y se habían ido, cansados del frío y del tipo ese del escenario que parecía estar a disgusto ante su público madrileño.

Con su célebre gorro de estibador calado hasta las cejas y una parka caqui, Treacy no dejó de desafiar al público ni un momento. Algunos todavía se entretenían. La cuestión parecía esperar a ver cómo iba a salir del atolladero en el que él sólo se había metido. Luego vinieron más piezas introspectivas de esas en las que Treacy suele incluir rasgos de una autobiografía marcada por la adicción a la heroína, los problemas mentales y las vacaciones en prisión. Fue una lástima porque Television Personalities eran uno de los conciertos estrella del III Festival de Cultura Pop de San Blas. Lejos quedaba el descreimiento de un temazo como Part time punks (algo así como punks a tiempo parcial).

Nacidos en la estela del punk de finales de los setenta, Television Personalities contienen treinta años de cultura popular británica. Sus letras remiten al Swinging London, a Joe Strummer y sus The Clash, a Teléfono Rojo ¿Volamos hacia Moscú?, de Stanley Kubrick y Woody Allen. Una pena que Treacy no encontrara ayer el camino a sus raíces.

Lp de la semana en Rough Trade

Desgraciadamente no lo encuentro...

Rattling folk-rock, driving jangle pop and keening vocals: it’s Minisnap, who in Bounce Around have made what masters of understatement would call “a classic album”. It really is that good.

Minisnap are essentially The Bats without Robert Scott; while removing a songwriting great (hey, did you hear 2005’s At The National Grid album? What a return to form that was) from a band would normally spell disaster, Minisnap reveals Kaye Woodward to be a songwriter of enormous talent in her own right.

Their debut ep, 2002’s In My Pocket, saw Minisnap finding their feet. It was a promising rather than strong debut, in part due to the use of a laptop, but proved it’s difficult to go wrong when you’ve got Paul Kean on bass. No one in the world, I swear, can nail a bass line so distinctively. 2004’s March Hare ep was stronger still, but it’s with Bounce Around, and the addition of an extra guitarist, that’s seen Minisnap develop into genuine contenders.

Bounce Around is full of punchy euphoria and dreamy-eyed pop, like Neil Young at his best, and the heart-stopping melodic charm and crisp delivery you always think The Shins would make if they were as good as people say they are (or as good as Minisnap in fact are).

You can hear a lot of late 80s indie in here, and not just the obvious Flying Nun comparisons: listen to Innocent and you’ll hear a guitar solo that J Mascis would sell his soul all over again to have written.

They’re playing the Windmill in Brixton on 25 April. I can’t find any information about a tour, but you’d expect more dates in the UK at least…and if they can persuade Robert Scott to come along, then The Bats could play. What a double header that would be...

de fireescapetalking

Bonita canción

Kings Have Long Arms (KHLA) are an English "rocktronica" act, formed in Sheffield and masterminded by Salford-born Adrian Flanagan (aka "Longy"). Kings Have Long Arms have collaborated with the likes of Philip Oakey from the Human League, Marion from The Lovers and Mira from Ladytron. They have achieved recognition from the UK media as well as in Europe where they headlined the 2004 Feedback Festival in Paris.

The band's debut album 'I Rock Eye Pop' was released in 2006. It features former Smiths members Andy Rourke and Mike Joyce, Philip Oakey, Denise Johnson (A Certain Ratio) and Ray Dorset (Mungo Jerry).

KHLA released a new single, Big Umbrella, in January 2008, on Domino Records. It features guest vocals from Candie Payne.

La nueva versión de "The Black Swan" de The Triffids

Al contrario que otras deluxe edition, esta versión si que es interesante, porque "The Black swan" iba a ser originariamente un disco doble que al final se vio mutilado (y las canciones sobrantes no se publciaron como caras B) incomprensiblemente porque eran buenas canciones.

Tanto en la web oficial de The Triffids como en la web de Domino Records, hay material abundante inédito en cuanto a textos y fotos. Pego aquí un divertido artículo de Nick Cave sobre David McComb acerca de un picnic a la australiana que hicieron en la lluviosa campiña inglesa....

AT EASTER IN 1990, I attended a massive Aussie Diaspora picnic in Peaslake, Surrey. I don't know why. I was probably drunk. Dave McComb was there. He was definitely drunk. As Peaslake, Surrey is in England, it rained. As it was an Australian picnic, which by definition means a lot of alcohol and no food, we got drunker. By the time we were helped into the back of the van to go back to London we were Singing-drunk. Singing-drunk is mid-way between hugging-drunk and fightingdrunk. It is the station that the Irish and the Aussies stop at for a while and the English go screaming past. Dave and I sang to each other.

These were the songs:

Maxwell's Silver Hammer, I Threw It All Away, Walk On By, This Guy's In Love, Leaving On A Jet Plane, Bridge Over Troubled Water, Lemon Tree, On Top Of The World, Georgie Girl, Thunder Road, Blue Moon, California Dreaming, Calling Occupants Of Interplanetary Craft, Say A Little Prayer, The Boxer, Suspicious Minds, Kentucky Rain, Bird On A Wire, Morningtown Ride, Cecilia, Yesterday, Anything Goes, What?ll I Do, Last Night (I Didn't Get To Sleep At All), Close To You, Belle Isle, Tonight, I'll Be Staying Here With You

We know this because the next morning Dave, weirdly, made a list. Dave was a list-maker: girls I have loved, books I have read, Indian meals I have regretted. I remember marvelling, in the back of that van, at Dave?s capacity, not only to remember lyrics, but to sing in tune. This was brought painfully home to me when I started up 'California Dreaming' and Dave asked (not unkindly) what key he should sing the backing vocals in. Then an argument ensued over the lyric, "I got down on my knees and pretend to pray". I was wrong. Dave was right. And then we got fighting-drunk until Dave launched into the magnificent ?Calling Occupants? and made everything all right. As I got to know him better, I realised that his abilities extended far beyond the norm. He actually did have the capacity to telepath messages through the vast unknown, if songs can be telepathy. Like many of the songs we sang that first day, his own songs call from the strangest places and at the oddest hours. Whether calling from the baking salt pans of the West Australian desert or the darks of a broken heart, whether praying or pretending to pray, their gist is hopeful and brave: "We are your friends", say the songs. Interplanetary, ultra-emissary and quite extraordinary friends.

Nick Cave
June 2006

Single, el Magic y París

Tras la confirmación de su próxima actuación en el Festival Internacional de Benicàssim, SINGLE acaban de confirmar su primer concierto fuera de las fronteras españolas: el próximo domingo 18 de mayo en la sala Nouveau Casino de París se presentará al público francés un concierto que muchos de ellos llevan esperando desde hace tiempo. No en vano SINGLE tiene allí un buen número de seguidores desde la época de LE MANS, y aún más en esta nueva etapa, desde que la prestigiosa revista Magic le dedicase toda una portada (¡y un artículo de diez páginas!) con ocasión de la salida del disco allí.

Link entrevista Magic:
http://www.elefant.com/grupos/single/prensa/5636/magic-fr

Este debe ser el disco que le ponía Butler a Duffy

Where I am Going de Dusty Springfield 1967

Especial de Joy Division del Guillot en el Levante-EMV

Más sobre Mojo New Wave (4): LPS

Son 20 los lps reseñados, sin orden. A cada uno se le dedica una página entera, por lo tanto no voy a scanearlas...
lo curioso es que la mayoría son los lps de debut de los grupos. No se han complicado mucho haciendo la lista...

Stranglers - "Rattus Norvegicus"
Ian Dury - " New boots and panties!"
XTC - "White Music"
Elvis Costello - "This Year´s Model"
Boomtown Rats - "Tonic for the troops"
Blondie - "Parellel lines"
Devo "Are we not men?"
Penetration - " Moving Tragets"
Jam - "All mod cons"
Squeeze "Cool for cats"
Skids - " Scared to Dance"

y los primeros lps de Generation X, Only Ones, The cars, Talking Heads, Police, Undertones, B52s, Pretenders y Psychedelic Furs

Más sobre Mojo New Wave (3): canciones UK

Más sobre Mojo New Wave (2): canciones USA

Más sobre mojo New wave (Lost bands)

Llenapistas indie-northern soul (éxito garantizado)

Cuenta el de fireescapetalking.blogspot.com que estuvo recientemente invitado como Dj en un club indie en Malmo (Suecia) y que cuando pinchó esta canción de The Devonnes, llegó el éxtasis a la pista... (y él, muy amable, la cuelga para que todos nos la bajemos)

The clear winner in my rump-shakin’, crowd pleasin’, frottage actuating DJ set in Malmo was, using the time-honoured measurements of fist-pumpin’ euphoria, face-splitting grinnin’ and physical intoxication, (You’d Better) Straighten Up And Fly Right by The Devonnes.

This record has the sass of the greatest 60s girl group songs, probably the best bass line ever (I played this song to that Mark Monnone, bassist of The Lucksmiths, a few years ago: he stood stock still, transfixed, agog, for the entire song; non- bassists among you will react by smiling and dancing) and a double neat trade in killer lines: try “I can be like an old used car/I’ll quit on you if you drive me too far” for size.(You’d Better) Straighten Up And Fly Right was found in GWP’s vaults and issued by Kent in 2005. You can find it on the compilation GWP NYC•TCB and should do so: that CD contains essential cuts such as Debbie Taylor’s feisty Don’t Nobody Mess With My Baby, which wouldn’t have been out of place on the Hot Wax release schedule, and Little Rose Little’s blind devotion on the club soul of He’s What I Need.

Walker Brothers - Images (1967) reedición de Cherry Red

La versión del "Stand by me" de Ben E King es muy buena. El album -el -ultimo que grabaron- me ha gustado

The highly impressive Images represent the final flourish of the Walker Brothers Sixties glory days. Released just before break up in 1967 the LP created a huge impression, initially by charting at no.6, and over time as a bearer of some excellent Scott Walker and John Maus original compositions.

This package adds the two singles recorded in the same period but not released on any LP. With a new essay by David Wells setting the LP in context, the original LP cover restored, and rare photos from the Strange Things Archive, this is an essential package for any 60's music fan.

Everything Under The Sun / Once Upon A Summertime / Experience / Blueberry Hill / Orpheus / Stand By Me / I Wanna Know / I Will Wait For You / It Makes No Difference Now / I Can't Let It Happen To You / Genevieve / Just Say Goodbye / Bonus Tracks / Stay With Me Baby / Turn Out The Moon / Walking In The Rain/ Baby Make It The Last Time

The La´s - Deluxe Edition by Bob Stanley (The Times)

The La's: The La's - Deluxe Edition
Bob Stanley

4 estrellas sobre 5

In 1990 - a year that threw up Balearica, jungle and Primal Scream's blissed-out rebirth - this Merseybeat throwback was regarded as little more than a curio. Economic melodies and grounded four-piece simplicity eventually made it one of the most influential albums of the era, echoing down the years via kagoule-wearing scowlers from Oasis to the View. This new double-disc edition includes the same songs but with Mike Hedges producing. Most sound similar, if slightly more spacious. Hedges's take on Timeless Melody has a lightness and a Byrds-like shimmer that Steve Lillywhite missed. There She Goes remains the clock-stopping standout, either way.


The La’s debut album is set for a welcome re-issue on April 14, 2008. The 2 CD deluxe edition is packed with mouthwatering rarities and previously unreleased versions of fans favourites. Also released is limited edition 7" single featuring two versions of 'There She Goes' b/w 'Way Out'.Tracks listing as follows:1. Son Of A Gun, 2. I Can’t Sleep, 3. Timeless Melody, 4. Liberty Ship, 5. There She Goes, 6. Doledrum, 7. Feelin’, 8. Way Out, 9. IOU, 10. Freedom Song, 11. Failure, 12. Looking Glass, 13. Son Of A Gun (Gary Crowley GLR session Dec 1988), 14. Doledrum (Gary Crowley GLR session Dec 1988), 15. I Can’t Sleep (Gary Crowley GLR session Dec 1988), 16. Way Out (Key 103 session Jan 1989), 17. I Am The Key (Key 103 session January 1989), 18. That’ll Be The Day (live on The Late Show BBC2 2-2-1989)1. IOU (Mike Hedges version), 2. I Can’t Sleep (Mike Hedges version), 3. Knock Me Down (Mike Hedges version), 4. Way Out (Mike Hedges version), 5. Doledrum (Mike Hedges version), 6. There She Goes (Mike Hedges version), 7. Feelin’ (Mike Hedges version), 8. Timeless Melody (Mike Hedges version), 9. Son Of A Gun (Mike Hedges version), 10. Clean Prophet (Mike Hedges version), 11. Come In Come Out (Mike Hedges version), 12. Failure (Mike Hedges version), 13. Looking Glass (Mike Hedges version)14. Doledrum (John Porter mix), 15. Way Out (Andy MacDonald version), 16. There She Goes (John Leckie version), 17. Man I’m Only Human (John Leckie version), 18. Feelin’ (Bob Andrews version), 19. Clean Prophet (Bob Andrews version), 20. I Can’t Sleep (Jeremy Allom version)

Mojo Classics: New Wave

Ayer estuve en Soriano y me encontré un número extra del Mojo (de la serie Collectors edition) enteramente dedicado a la New Wave. Es casi como un libro, pues tiene 150 páginas. Yo diría que incluso mejor que un libro pues cuesta 10 euros y posee muchas fotos inéditas y con las obligadas listas de canciones, lps y bandas desconocidas. Puro fetiche nostálgico. En el año 80 yo tenía 14 años...

Cuelgo el sumario (pinchar en la foto para hacerla más grande) y la intro firmada por Debbie Harry

Raphael - Je sais que la Terre est plate (2008)

Yo no tenía ni idea de quien era éste, pero parece que tiene ya una carrera bastante avanzada

texto de wikipedia:

Raphaël Haroche, es un músico francés. Compone letra y música de sus temas. Nació el 7 de noviembre de 1975 en Boulogne-Billancourt(Francia). Es hijo de madre argentina y padre ruso.
Hasta la fecha tiene 4 discos de estudio: "Hôtel De l'univers" (2000), "La réalité" (2003), "Caravane" (2005) y "Je sais que la terre est plate" (2008); y 2 discos en directo: "Résistance à la nuit" (2006) y "Une nuit au Châtelet" (2007). En 2006 editó el disco "Caravane" con 4 temas en castellano.
En su primer disco, "Hotel De l'universe" (2000), sus temas hablan del mundo en el que vivimos (la sociedad de consumo, las relaciones amorosas actuales), y es bastante rockero en comparación con los dos siguientes.
En su segundo disco, "La Réalité" (2003), el piano reemplaza a la guitarra en sus temas. El tema más exitoso del disco fue "Sur La Route" (En la carretera), a dúo con Jean-Louis Aubert, otro músico francés.
Pero su último disco de estudio es el que le ha consagrado en la escena musical francesa. Desde su salida se convirtió en un superventas en Francia, Bélgica y Suiza. Fue el disco más vendido en Francia en 2005 (más de 1 millón de ejemplares vendidos, disco de diamante) y el más vendido en lengua francesa en Bélgica (50.000 copias, disco de platino) y Suiza (20.000 copias, disco de oro) (ver certificados de discos). A su primer single Caravane, le siguieron Ne Partons Pas Fachés, Et Dans 150 Ans y Schengen. Es un disco lento, melancólico, de melodías sencillas y la voz rota de Raphael en todos los temas menos en el último. Es un disco corto (35 minutos) pero que no deja mal sabor de boca.
Para la edición francesa del álbum de grandes éxitos de Luz Casal, Raphael interpretó a dúo el tema Et Dans 150 ans en castellano. Se tradujo como "En un siglo verás".
En 2006 se lanza para España Caravane con cuatro temas en castellano: Caravana (Caravane), En un siglo verás (et dans 150 ans, con Luz Casal), Canción de Patrick Dewaere (Chanson pour Patrick Dewaere) y Que bueno hoy (C'est bon aujourd'hui).
Tras una gira extensa que le llevó no sólo por su Francia natal, sino también por Bélgica, Suiza, Reunión y Mauricio, se publicó un disco en directo "Résistance à la nuit".
A principios de 2007 publica otro disco en directo, "Une nuit au Châtelet". Se grabó en octubre de 2006 de uno de sus conciertos en el Théâtre du Châtelet de París.
El 17 de marzo de 2008 se publica en Francia, Suiza y Bélgica su esperado cuarto álbum de estudio "Je sais que la terre est plate", tras tres años desde la publicación de Caravane. El primer single extraído se llama "Le vent de l'hiver".
Su pareja actual es la modelo y actriz francesa Mélanie Thierry, quien aparece en todos los videos de los singles del disco Caravane

Recopilatorio de chicas

Buscando canciones de Truly Smith me he encontrado este recopilatorio.

Girls Scene -- 25 Girls Scene Classics From The Decca Vaults
Various (1999)

To our ears, the UK scene of the mid 60s was much more of a girl pop haven than the US one of the time -- and if this set isn't proof of that fact, we don't know what is! The Brit girl sound of the 60s has certainly been well but here, the sound is a lot lesser-known -- served up by 25 lovely females, a few of whom went onto greater fame, but most of whom we're hearing here for the very first time! The collection is incredible -- a dream of a set if you dig 60s girl pop

16 años después

Gracias al amigo Kokoro, he reescuchado este disco y la verdad es que me parece muy flojo. Cuando salió recuerdo que me encantaba pero -imagino- que las personas cambiamos y lo que te gusta cuando tienes 25 años no es lo mismo que cuando ya has pasado los 40. Menos "Bit Part" (que me parece una canción encantadoramente idiota, incluida la letra) el resto me parece insufrible. De la edición deluxe destaco la versión de "Mrs.Robinson" (no incluida en la versión original del lp) y de "Shaky Ground" de Sneeze, que interpreta a pelo con una guitarra acústica y no le queda nada mal. Eso si, el cd de rarezas, son una basura (son versiones demo de las canciones del lp)

Letra de "Bit Part": lyricstime.com/lemonheads-bit-part-lyrics.html

Truly Smith (Un poco de Northern Soul)

I think the only UK label Truly recorded for was Decca. She released at least five singles with them:- My Smile Is Just A Frown Turned Upside Down- I Wanna Go Back There Again- The Boy From Chelsea/little Man With A Stick- Windows And Doors- The Merry-Go-Round is Slowing You Down

did see the MGM ">

The following is from Mick Fitzpatrick's site:-" Truly Smith - My Smile Is Just A Frown Turned Upside Down. Fabulous, smooth version of a wonderful Carolyn Crawford Motown single, price rocketed from £3 to £25 in a matter of weeks following my reviewing it in 1990! Truly’s other Decca single of interest, I Wanna Go Back There Again, is a strong version of Chris Clark’s US hit which was covered by several UK artists in 1967. It seems she bowed out with a final single for MGM in 1968, This Is The First Time, which has a small following on the collectors scene. A French Decca EP also exists."

Counter Culture 2007

Como todos los años, Rough Trade Shops edita un resumen del año en forma de doble cd bajo el título de Counter Culture. Es una vía para descubrir grupos desconocidos/nuevos y propuestas de variada índole. Este año hay desde grupos doo woop futuristas (una cosa extrañísima llamada 180 gs) hasta Julian Cope pasando por hits electropop (un tal John Maus y "Rights for Gays" !!!!!) punk juvenil a lo Huggy Bear (las americanas Mika Miko), pop a lo Beach Boys (Miracle Fortress) , vanguardia tipo The Wire Magazine como Supersilent (Norwegian free electro/jazz improv group on the Rune Grammofon label) French electro music (Justice (3)) con una canción dedicada a Michael Jackson o los ya conocidos Arthur & You, Glasvegas o Manhattan Love Suicide. Entretenido si es, escuchar este tipo de recopilaciones.

Arrebato consumista

Ayer estuve en Media Markt y me dio un arrebato consumista (el último que recuerdo fue en el FNAC antes de las navidades cuando me compré 5 cds de Costello de golpe a 10 euros cada uno). Esta vez han sido 5 cds (Leonard Cohen "The Future", The Smiths "The Queen is Dead" (lo tengo en vinilo), Kraftwerk "Trans-Euro Express", Echo & The Bunnymen " More Songs To Learn And Sing" y Nick Cave "The Abbatoir Blues" (doble)) porque estaban a un precio -6 euros- tirado... ¡porque yo no soy tonto! ¿O si??????

El Kiko este mes en Rockdelux

Comenta, al margen de este disco, el de Kelley Stolz (al que acusa de vendido por ceder una canción suya a un anuncio de TV), el de The School of Language (inescuchable. Es uno de los componentes de The Field haciendo experimentación), el de Martin (un grupo de Granada que graba para el sello de Los Planetas) y el disco que recopila las canciones favoritas de Miqui Puig

Alan McGee enloquece con The Grants

Que yo sepa todavía no han grabado nada, pero McGee en su blog ya habla y no para de ellos. Las canciones de myspace suenan bien. Son muy fragiles pero bonitas. Tienen algo de la melancolía de las baladas de The Pale Fountains.

http://www.myspace.com/thegrantsrock

The Grants are a band I've been watching for a while. They have come up through my clubs Death Disco and The Queen is Dead, starting at the bottom of the bill in '06 and selling out the venue at the end of '07. The musical vibe of the Grants is John Riley-era Byrds, and they also exhibit that uniquely scouse trait of emulating their hometown heroes Captain Beefheart, Leadbelly and Arthur Lee.

They have been sending me songs for a while and improving all the time. It was when they recorded I Am The One (with its cheeky nod to the Roses) that I realised the kid has it, and the song flows like early Ocean Blue.

Chris Grant is a young songwriter who's already built up a fine repertoire of songs, and his tunes are beyond reproach. They've confirmed what I've seen in them live - these are bedsit kids writing anthems to their own dreams. The Grants are very much in development and carry the same vibe Glasvegas had two years ago. A slow development is what is missing in today's music industry of hit'n'run A&R, where if they don't make it on the first single, they are left to flounder, and if they don't repeat their success on their second single, then they are written off. It's a buzz watching a band like the Grants find their feet, discovering that the holy grail of the pure and perfect pop songs is easily within their reach.

Their live show is always an exciting prospect: there is an energy and amphetamine rush about it that is missing among the skinny jeans brigade. It reminds me of the mid-80s, when punk rock sensibilities merged with psychedelia, transforming the songwriting of Liverpool's greats. The Grants recall the great period where bands like the La's, the Bunnymen, the Teardrop Explodes and Wah! Heat were making the scene.

This Is The One summons up the spirit of the Pale Fountains (led by the Head brothers) who were one of the scouse proponents of the "quiet pop" scene of the 80s. At a time when the Bunnymen were giving us long raincoats and doom-laden post-punk, and the Teardrop Explodes were deep into keyboard-driven psychedelia, the Pale Fountains, like the Grants, were a quirky oddity, and were signed for a notoriously large sum on the strength of tunes influenced by Love, Burt Bacharach and Sergio Mendes. The Grants are aware of those acts and have the pop smarts to take them all on. Frankly, they are the best scouse pop band in years.

And the best bit? They are doing it without the NME-approved Deltasonic scene, which has had a stranglehold on Liverpool for far too long. Their songs are available for download. Glasvegas got big by giving away their songs and not being precious about letting people have their songs before the record companies did.

As usual, the Grants' following has started in London, but it should soon spread. Do yourself a favour and download their songs. Hopefully they will have time to develop some more before the record companies indulge in another Glasvegas-style frenzy. Nine months ago the music business didn't want to know about Glasvegas; now they can write their own cheque. In a year's time, it will be "game on" for the Grants.

Elvis Costello - "Momofuku"

the new album by Elvis Costello and The Imposters, will be released April 22 on vinyl with a digital download code included in the package.

A CD version will be released two weeks later, on May 6.

The track list:


01. No Hiding Place

02. American Gangster Time

03. Turpentine

04. Harry Worth

05. Drum and Bone

06. Flutter and Wow

07. Stella Hurt

08. Mr. Feathers

09. My Three Sons

10. Song With Rose

11. Pardon Me Madam, My Name Is Eve

12. Go Away

¿No dijo que no iba a editar nada????

Pete Molinari

Es un artista retro a lo Richard Hawley. Si éste pretende hacernos creer que es Roy Orbison y que vive en los 50, Pete Molinari en cambio apuesta por la escena del Greenwich Village Neoyorkino de los 60. Para él, el tiempo no ha pasado. Graba para Damaged Goods, Fabienne Delsol le hace fotos y ha grabado algunas canciones en la cocina de Billi Childish. Su primer lp no me dijo mucho, pero el single del nuevo lp es bonito. Esto es lo que dice la prensa:

’Molinari’s voice and haunting melodies left me feeling that the musical void in the British music scene will most definitely be filled. He can follow in the footsteps of Dylan and Guthrie’ – NME

"A singular talent....his distinctive voice and guitar establish him as a Medway Hank Williams. Worth investigating." - UNCUT

’The soul of American music distilled into the voice of a Cuban-heeled greaser from the Medway Delta’ – THE GUARDIAN

‘An extraordinary new British talent...4.5/5’ - THE SUN

Uncut le da 5 estrellas al nuevo lp de Robert Forster

Jean Louis Murat - Tristan

Bonito album el que acaba de editar Murat. El single es la mejor canción pero las demás no están mal. Eso si, casi todos son medios tiempos.

Le nouvel album "Tristan" de JLM sortira le 31 mars 2008 chez V2Music/Universal.

Le premier extrait est "Tel est pris"...

L’album est composé de dix titres :

La légende dorée
L’amour en fuite
Mousse noire
L’hermine
Chante bonheur
Tel est pris
Les voyageurs perdus
Dame souveraine
Il faut s’en aller
Marlène
Tristan
(nouvel album, Scarlett/V2Music)


Voilà le chef d’œuvre de Murat.
Depuis plus de vingt ans, le troubadour auvergnat nous a habitués à découvrir de superbes disques (Dolorès, Mustango, Le moujik et sa femme, Lilith, Taormina, …). Avec Tristan le voilà au sommet de son art.
« La crise du disque nous oblige à penser différemment notre métier. Avec Tristan c’est un nouveau départ, le métier change, je change aussi. Je veux repartir de plus belle. » nous dit-il.

Le pari est plus que réussi.
Terminé le mythe du « power trio », des machines ou encore de cette façon très française de faire de l’art pour l’art ?
« La nécessité fait loi, je m’en réjouis » nous dit-il encore.

Voilà dix chansons intemporelles, sublimes, dans une langue poétique plus épurée que jamais.
« Tristan est un Sancy de tristesse. Il ne s’entend bien que si on pense, comme moi, que Dieu est une femme. »

Tristan a été enregistré en Auvergne à l’automne 07 par le fidèle Aymeric Létoquart. De fabrication artisanale, joué avec quelque compagnon de fortune, on sent à chaque instant battre la vie au cœur de Tristan.

« Je chante l’impossible amour entre Tristan et Yseult, je cherche d’où nous vient ce goût du malheur. A ma façon. »

Après « Charles & Léo » (V2 Music 2007), Tristan place plus que jamais Murat au coeur de la chanson d’amour française. En Maître.

Il sera seul sur scène à Paris et en province en octobre 08.

Nuevo Mojo

¡qué guapa era antes de que fuera una junkie!

Liquid Liquid "Cavern" - Una de las mejores líneas de bajo de la historia

Llevo toda la mañana escuchando este riff de bajo. Es excelente. Engancha. Pertenece a Liquid Liquid, un grupo neoyorkino de punkfunk que con "Cavern" creó escuela. Grandmaster Flash lo copió y el resto es historia...

Spring 2008
Liquid Liquid-“Slip In And Out of Phenomenom” is the new retrospective that will be released on May 19th thru Domino Records. The songs were taken from the 3 EP’s originally released by the 99 Records label plus 10 unreleased bonus tracks. The songs were digitally re-mastered at Abby Road Studios and the artwork was designed by Richard McGuire of “Liquid Liquid”.

The third EP “Cavern” and the debacle that ultimately brought forth the destruction of the 99 label:
“This EP was Liquid Liquid’;s most accomplished recording so far and ‘Optimo’ and ‘Cavern’ became big club hits. ‘Cavern’ became a huge hit in the newly developing hip hop scene and the 99 shop was inundated with people looking for the record with THAT bassline. It would go on to sell almost 30,000 copies. At this point in time, sampling was a very new phenomenon and no one was really sure what the legal situation was with regards to sampling other people’s records. ‘Cavern’ was such a big hit around New York that summer that it wasn’t long before Sugarhill Records, the first label to commercially exploit hip hop, appropriated the bassline for the backing to Grand Master Flash’s ‘White Lines’. As they were fans, initially Liquid Liquid were delighted that Flash had used ‘Cavern’ but when it became a global hit their attitude changed somewhat. Ed in particular was outraged and contacted Sugarhill to try and get payment. Sugarhill hadn’t actually sampled ‘Cavern’ but had got The Sugarhill Band (who would ironically later become Tackhead, the biggest band on his friend Adrian Sherwood’s On U Sound label) to replay the bassline and also appropriated other elements of the song, right down to Sal’s words (Sal’s ’slip in and out out of phenomena’ was changed to ’something like a phenomenon’). This was when the nightmare began.
Sugarhill were renowned for shady business practices. The raps on their first hit release ‘Rappers Delight’ were stolen from other rappers and they weren’t known for paying out to anyone. Various stories have been told that indicate Ed was threatened and there are tales of Bahlman being ‘taken for a ride in a car’, Sugarhill people intimidating employees and customers at the 99 store and vague mentions of Mafia involvement. Nevertheless, despite intimidation, Bahlman pursued this through legal channels and eventually it came to court. In a case that would set precedents with regard to sampling law, the judge ruled in favour of 99 and Sugarhill were ordered to pay out. Unfortunately, partly due to their shady business practices, Sugarhill didn’t have the money to pay and filed for bankruptcy. This was the final straw for Ed who had put all his energy and money into the case and by all accounts was now a broken man. He decided to get out of the music business and urged all the artists on 99 to do the same. Unfortunately, when Ed left the music business he also left ESG and Liquid Liquid somewhat in the lurch as they had no contracts with him and the rights to their records would remain in limbo for years. As Liquid Liquid were on the verge of imploding anyway, this wasn’t too much of a problem for them but it would cause huge problems for ESG in the years that followed. To this day Ed still fiercely guards the master tapes to all the 99 releases that he regards as his.
The story doesn’t quite end there. Some years later a DJ friend of Richard McGuire’s informed him that Duran Duran had covered ‘White Lines’ so McGuire hired a lawyer and went after them. An out of court settlement was agreed upon with Duran’s lawyers and the Liquids finally got their payment. By this time Ed was long gone and it’s not even known whether he is even aware that justice was finally served. ‘Cavern’ has gone on to become a bona fide hip hop classic and has been used in several films. That bassline is possibly one of the most famous and instantly recognisable in the history of music. For someone who never really considered himself that much of a musician, this is a fact that to this day amazes McGuire.”

El single de debut de The Triffids - "Stand Up" (1981)

Con ocasión de las recientísimas reediciones de The Triffids, he conocido esta pequeña joya. Apenas si dura 1 minuto 30 segundos y está muy mal grabada, peor tocada e interpretada, pero no deja de ser una gran canción muy típica de una banda joven, entusiasta y en la que ya se aprecian buenas ideas. Me recuerda (en el espíritu, en la ingenuidad) al "Lee Remick", el que fuera el debut de The Go Betweens. Ambos grupos tienen similitudes hasta en esto...