I literally have not heard this Gamma album for 35 years. Yet it is amazing how I remember some of the songs. Of course it is very '80s and does sound dated, particularly on the vocal front. But there are some excellent hooks, decent electric guitar from founder Ronnie Montrose, and interesting synth embellishment with even some ELO like vocoder! On some of the more pumping bass tracks they remind me a bit of Budgie.
Carly Simon - No Secrets
Sigur Ros - Takk King Crimson - Lark's Tongues In Aspic King Crimson- Red Harmonia - Deluxe Gamma - 1
I could n't stomach the singing on the Sigur Ros album Takk, their fourth. I was into their break through Ágætis Byrjun album (their second) so it's a mystery to me whether my tastes have changed, or the band, or more to the point, the singer has changed. Or were they just a one trick pony? I had to turn it off about half way through to be fair.
Two superb albums from King Crimson reaffirmed my faith in progressive rock this week. Displaying both power and musicianship these albums are high watermarks in the genre. Whereas the monumental debut and fan favourite In The Court Of The Crimson King was beautiful it is now also a little dated and slightly whimsical. A few years later Robert Fripp's band had come on leaps and bounds - there is less mellotron and more drums and bass (the former so sharp and the latter so heavy in the mix), and sawing violin especially on Larks', and guitar especially on Red.
Red was a fitting climax to the end of the first era of King Crimson ending on perhaps their greatest ever track, Starless, which featured one of the most unique guitar solos in rock history.
Fripp mothballed the band and set out on some solo experimentation and collaborations with the likes of Bowie and Eno. Not until 1981 did he return with a reformed King Crimson releasing the revolutionary Discipline; an album which was most confusing to the early fans but is now viewed as an underrated classic ahead of its time.
ps. What is Aspic? All these years I assumed it was a place, fictitious or otherwise. I never realised it was a foodstuff, which makes sense - something you would serve lark's tongues in.
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The Laura Marling album is one of my favourite "nu-folk" (bit of a silly term) albums - one that has grown on me over the years. Good songs, interesting acoustic guitar chords, and a restrained voice thankfully void of those Joni Mitchell like vocal histrionics. Possessing a depth and longevity which I have found lacking in acts Marling has been associated with (Noah And The Whale, Johnny Flynn, Mumford and Sons anyone?) I Speak Because I Can has appeared in this blog several times over the last couple of years and will appear again. It lays claim as her best album; its predecessor Alas, I Cannot Swim is due a deeper dive too. Here's her plot on the tourist map of music...
Cover album this week is Iron and Wine's Around The Well double-cd. This is a mostly solo acoustic low-fi collection of b-sides, outtakes and rarities. This is twinned with Neil Young's second solo album Everybody Knows This Is Nowhere. Not an obvious twinning perhaps save for the fact that I had the pleasure of attending the inaugural Americana and Country Black Deer Festival this weekend set in Eridge Park, Kent.
1. Earl Sweatshirt - I Don't Like Shit, I Don't Go Outside
2. Wiley - Snakes and Ladders
3. Sigur Ros - Takk
4. Quantic - Apricot Morning
5. Iron and Wine - Around The Well cd 2
6. Neil Young - Everybody Knows This Is Nowhere
Neil Young wasn't there but was represented by perhaps my highlight of the weekend which was a storming cover of his Down By The River by fellow Canadian barroom classic rockers The Sheepdogs - the singing from these Lynyrd Skynyrd copyists wasn't quite Neil's but the duelling guitar sound was spot on. Down By The River is one of two classic extended guitar whigouts on this tremendous album, the other being Cowgirl In The Sand; on both, Crazy Horse set down a rolling bass and drum groove allowing Young's guitar to soar. Never one for screaming fret burning he is a master of a cool languorous style that allows the music to breath and take flight in unexpected directions.
It has been said that Young only has one guitar solo, but it sure is a good one.
I'd just hot footed from the main stage headliner, the actual Sam Beam, aka Iron and Wine. Beam had sauntered on stage with an acoustic guitar and an actual glass of red wine which he placed on a stool beside him. Right on time he looked out upon, it has to be said, a smaller than expected crowd which didn't actually grow even with the ending of the excellent Eric Bibb's set on a nearby alternative stage. In fact I think the crowd diminished further as the set progressed - the crowd perhaps confused with the sound and chilled by the breeze after a day of glorious sunshine in this barmy English summer.
Beam started with the popular Trapeze Swinger from the featured record here with lovely percussive playing and his breathy vocals. But I'd probably say this was the highlight of a disappointing set beset with some sound issues, namely the bass drowning out the rest of the band (how often does this happen? - can the sound man not hear the same as me or is the sound set up for a new festival just not what you'd expect) including a cellist who was completely inaudible despite performing energetically. Even Beam turned to say he couldn't hear himself. "Nor can we," someone heckled (could have been me :) )
The songs were culled from his career but were all played with a more jazzy fusion arrangement which I understand has impressed on his latest album but didn't work well on a big stage and actually rendered some favourites unrecognisable.
When I first saw him during the excellent Kiss Each Other Clean tour he had gone full band electric which sounded fantastic to my newcomer's ears, although I did read subsequently some of his fans at the time didn't like his new direction and wanted to hear the introverted acoustic troubadour.
Recent album reviews have been very positive for his latest Beast Epic album heralding a return to the softer acoustic sound albeit with some experimental jazz overtones. I don't doubt the new record is excellent but as I say maybe it is music more suited to the living room, or the Festival Hall, than a festival main stage headlining slot.
Apparently Canadian collective Godspeed have at some point in their history changed the position of the exclamation mark in their name. So this means they have now become Godspeed! You Black Emperor instead of Godspeed You! Black Emperor, or the other way round. Just imagine the band meeting where this was decided but frankly I doubt anyone really cares.
I first became aware of GYBE when Lift Your Skinny Fists Like Antennas to Heaven came out in 2000. From memory (as I haven't played the entire set for a long time) and reputation, I recall it was a pretty decent record and at the time quite groundbreaking.
I don't think there is much groundbreaking about their brand of epic bombastic post-rock instrumental music any more. The formulaic slow / fast / quiet / loud repertoire is similarly replicated by the likes of Explosions in the Sky and Mogwai (as confirmed by the music map below). Each song builds gradually towards a predictable conclusion where everyone just plays louder and faster. The musicianship is pretty basic and sounds like a bunch of students jamming in a garage. The lack of lyrics I also think is very self-limiting.
GYBE in action
This album was the follow up to "Lift Your Skinny Fists" and translates into something to do with Yankee Unexploded Bombs - I expect heavily influenced by 9/11 and the subsequent launch of the war on terror. The cover is pretty cool.
A few years ago I saw GYBE in London (at the Troxy). Expecting some sort of revelation I was disappointed by an uninspiring performance with zero audience engagement and a backdrop of irrelevant projections.
Less ether more real please
Unsurprisingly I have also fallen out of love with the somewhat similarly sounding Sigur Ros. Their brand of dense ethereal prog sounds a bit dated now and leaves me slightly cold and frustrated which is a shame as I'm sure I really liked their acclaimed Agaetis Byrjun album when it first came out in 1999.
SR in action
Part of the frustration for me lies in the ghostly incomprehensible singing. The lyrics are apparently in their native Icelandic which is fair enough but it is more the style of singing which I think would make the singing incomprehensible in any language. The meaning of the title is A Good Beginning.
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1. Neil Young - On The Beach
2. Godspeed You Black Emperor - Yanqui UXO
3. Feist - The Reminder
4. Sigur Ros - Agaetis Byrjun
5. Chemical Brothers - Come With Us
6. The Incredible String Band - The Hangman's Beautiful Daughter
Got a real "marmite" record in the player this week. The incredible Incredible String Band record is frankly amazing. It's just very different. It's fairly indescribable. The closest description would be a sort of folk, sometimes termed psychedelic folk:
In their amateurish mish-mash of world music styles, epic poetic traditions and copious psychedelics they stumbled upon a style of music all their own.
However you like to describe it, it polarises listeners - many love it, many hate it. It has enjoyed much reverence from musicians and critics. Paul McCartney, Dylan and John Peel were fans. McCartney selected the album as his favourite of 1968. Led Zeppelin were apparently heavily influenced by it, particularly around the time of producing their III album. It frequently features in "greatest albums of all time" lists.
Yet many find it unlistenable:
"Plas man" on amazon describes it as "amateurs playing various instruments, and different tunes, all at the same time." Another amazon customer was even less charitable describing it as "by far the worst album I ever bought. What the hell were they thinking or indeed smoking. Utter and complete garbage."
In her amusing review Alt Rock Chick writes: "What I find incredible about this group is that they were ever allowed in the studio in the first place. They have all the talent of third-rate buskers, the kind of street performers whose sound makes you dash to the opposite side of the street as you approach the spot from which their horrible noise emanates." She goes on to damn the music as "the most repulsive music I have ever heard."
To many western ears it sounds out of tune and Alt Rock Chick describes the singing as beyond any notes found on any scale known to humankind! Fantastic stuff. I don't know about you but anything that elicits such extreme views has got to be worth a listen.
The ISB at their infamous Woodstock appearance, songwriters Mike Heron and Robin Williamson, backed by girlfriends
In the style of a good court room drama I'm pleased to take the role of the defending barrister putting the case for the defence of this album. I will present three pieces of evidence which I will show prove beyond reasonable doubt that The Hangman's Beautiful Daughter is in fact an amazing record. In fact I can do this by an examination of the first three tracks only.
Exhibit A
I first present the opening song Koeeoaddi There as Exhibit A. There are enough ideas in this 5 minute piece for a whole career let alone a single album or song. The structure of the song, like a lot of Incredible String Band songs is all over the place but in my opinion it holds together and works. It's actually a masterpiece!
The lyrics present a description of childhood to which many of us can relate, particularly the "shadowy fingers on the curtains at night":
Born in a house where the doors shut tight Shadowy fingers on the curtains at night Cherry tree blossom head high snow A busy main road where I wasn't to go I used to sit on the garden wall Say hello to people going by so tall Hallo to the postman's stubbly skin Hallo to the baker's stubbly grin
There is also a mention of Mike Heron's enigmatic girlfriend* Licorice in a Dr. Seuss inspired verse:
But me and Licorice saw the last of them one misty twisty day Across the mournful morning, moor motoring away Singing ladybird, ladybird what is your wish Your wish is not granted unless it’s a fish Your wish is not granted unless it’s a dish A fish on a dish is that what you wish
There is even a sort of chorus which is the catchiest part of the song:
Earth water fire and air
Met together in a garden fair
Put in a basket bound with skin
If you answer this riddle
If you answer this riddle, you’ll never begin
The girls in the band are an interesting case. They were Christina "Licorice" McKechnie and Rose Simpson. I'm not sure whether they were more important as musicians or girlfriends - certainly it appears they were the latter before the former. Licorice was partnered with Robin Williamson and left the band in 1972 after their romantic relationship ended. Rose was Mike Heron's partner and allegedly was invited to join the band only because Licorice had been invited too. By all accounts there was a fair bit of rivalry between Williamson and Heron personally and professionally. The girls didn't get on either!
[*Hang on a minute - you said Licorice was Mike's girlfriend, but then was with Robin. Which was it? Ed.
Actually it was probably both - you know, the swinging sixties, and just look at that cover! Or was that Rose?..
In the middle of the night she (Rose) left Robin's sleeping bag, crawled in with Mike, and stayed with him for the next three years.
Joe Boyd
... actually my error, Koeeoaddi There was written by Robin so it was him, apologies. Glad we've cleared that up.]
Mike Heron, Rose Simpson, Licorice and Robin Williamson
Exhibit B
Exhibit B is The Minotaur Song which is an enjoyable call and response marching song. It features Richard Thompson and Judy Dyble from Fairport Convention. Roll up your sleeves and sing-a-long:
Straight from the shoulder I think like a soldier I know what's right and what's wrong He knows what's right and what's wrong! I'm the original discriminating buffalo man And I'll do what's wrong as long as I can He'll do what's wrong as long as he can! I live in a labyrinth under the sea Down in the dark as dark as can be I like the dark as dark as can be He likes the dark as dark as can be!
Heron and Williamson - never great friends
Exhibit C
Exhibit C is the thirteen minute epic A Very Cellular Song, a kind of circular suite that opens with a wavering organ riff and harpsichord refrain which ebbs and flows, and leaves and returns throughout.
The lyrics are out of this world, literally:
Nebulous nearnesses cry to me At this timeless moment someone dear to me Wants me near, makes me high I can hear vibrations fly Through mangoes, pomegranates and planes All the same When it reaches me and teaches me To sigh Who would mouse and who would lion Or who would be the tamer? And who would hear directions clear From the unnameable namer? Who would skip and who would plot Or who would lie quite stilly? And who would ride backwards on a giraffe? Stopping every so often to laugh Amoebas are very small Oh ah ee oo There's absolutely no strife Living the timeless life, I don't need a wife Living the timeless life If I need a friend I just give a wriggle Split right down the middle And when I look there's two of me Both as handsome as can be Oh, here we go slithering, here we go Slithering and squelching on Oh, here we go slithering, here we go Slithering and squelching on Oh ah ee oo There's absolutely no strife Living the timeless life Black hair, brown hair feather and scale Seed and stamen and all unnamed lives that live Turn your quivering nerves in my direction Turn your quivering nerves in my direction Feel the energy projection of my cells wishes you well May the long time sun shine upon you All love surround you And the pure light within you Guide you all the way on
I have heard the last verse before as a yoga mantra. I had assumed this was a traditional mantra but apparently the mantra was lifted from this original ISB song.
Apparently the spiritual leader of Kundalini Yoga, Yogi Bhajan, once came into a room where a group of yoga students were singing the ISB song. Yogi asked them to keep it up, and from then on requested them to sing it after his classes. It quickly became a tradition that continues today at the end of every Kundalini Yoga class taught throughout the world.
When the Incredible String Band toured the States in the late 60s May the Long Time Sun was always the closing song at their gigs.
They were invited to play Woodstock but didn't make the edit for the original film. Originally scheduled to play the more acoustic Friday evening as one of the headliners they were bumped to the heavy rock Saturday due to the famous rain and didn't go down so well. An opportunity lost.
The Woodstock setlist: Invocation The Letter Gather Round This Moment Come With Me When You Find Out Who You Are
Oddly no songs from "Hangman".
Closing Remarks
It is time to rest my case, your honour. I hope I have made a case strong enough for listeners to investigate, or reappraise, this most unusual and fascinating album.
After Hangman the band fell within the clutches of Scientology and despite some decent later albums and continuing good sales (much of the proceeds they invested in the Church) they gradually lost their edge:
Soon the new compositions began to lose their wild melodic beauty. In the studio, there were fewer moments of surprise and inspiration.
Joe Boyd
The band broke up in 1974, both leading members going on to take up solo careers with the occasional short lived reunion. The enigmatic Licorice, like one of her front teeth, sadly went missing in the late 80s, presumed dead.
The full log this week:
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1. Neil Young - On The Beach
2. Deep Purple - Machine Head
3. Cocteau Twins - Four Calendar Cafe
4. Sigur Ros - Agaetis Byrjun
5. Susumu Yokota - Sakura
6. The Incredible String Band - The Hangman's Beautiful Daughter
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To read more about the Incredible String Band, along with all the other artists Joe Boyd managed and produced in the late 60s - Fairport Convention, John Martyn, Nick Drake, early Pink Floyd etc. I highly recommend his brilliant and very readable White Bicycles memoir.
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