Take a gander over that way ----->

at the Recycle blog.



£50 Note and brunorepublic have done a yeoman's job in assembling the best New Order package ever - and it's all been a fan's project.

They've accomplished what the record company has abysmally failed - a comprehensive, beautiful, chronological assemblage of this terrific singles band's many fantastic singles. Tracked down elusive B-sides, 7-inch promo edits, the works. And it's all been done with the most amazing care for sound it truly puts Warners to shame (ref: the CD2 materials from the recent "Collector's Edition" New Order 2xCD packages). Twenty - 20 - CDs of pristine, amazing, groundbreaking music.

I've never heard 99.9 percent of the tracks they've assembled sound better than what they've done.

And the artwork - oh the artwork! Lovingly assembled mini-LP sleeves either meticulously scanned from mint 7"/12" sleeves, or recreated to be identical to the original, with directions (on the Recycle blog flickr account) for assembly - beautiful, beautiful stuff.

They're only missing one final Factory-era single in the batch, the last New Order release on Factory, "World in Motion" - and I can hear the world salivating at that one ;) Nevertheless it too will be included.

So in lieu of enjoying my latest offering, scoot on over there ----> and start downloading. You may not like all the material - "Sub-Culture" sounds just as vile as it did 24 years ago - but at least it's pristine-sounding vile ;)

postpunk on the prairie: PEGBOY

This post has been a long time coming.

As the 1980s came to a close, the legendary Naked Raygun utterly dominated the Chicago punk rock scene. Their fierce blend of Buzzcockian pop sensibility, Misfitsish "oh-wey-ohhh" vocals, and the amplifier-crunching colossal guitar attack - courtesy of John Haggerty - set the stage for the postpoppunk revival of the 1990s. And for the most part, Raygun missed it.

1990 came around with John feeling burnt out on Raygun. So he quit and started over again. Teaming up with former Bhopal Stiffs Larry Damore (vocals) and Steve Saylors (bass), and joined by his brother Joe (ex-Bloodsport and Effigies) on drums, Pegboy was born.

Why should you care? Because no band, or rather no progression of bands (in this case, Naked Raygun -> Pegboy), best represents the old-skool "Chicago sound". The second (or was it third? #2 and #3 came within a week of each other) gig I ever saw was Naked Raygun in 1989, and to this day I remember that night like it was yesterday, it meant so much to me.

And in 1990, your humble blogger also attended Pegboy's debut gig at Chicago's Metro.



Paring down the sound to basics - wall-of-crunch guitars, gruff vocals, throbbing bass, and flailing drums, with songwriting to match, Pegboy was perhaps the greatest punk band to ultimately make it out of the Chicago scene. Oh many will disagree with me, and on some days I would disagree with myself as well, but Pegboy just did their job, day-in and day-out, not particularly messing with the formula.

In 1990 the foursome asked legendary Chicago punk producer Iain Burgess to record a 4-song demo. The resulting recording was so powerful it was released as-is, as the band's debut on newly-formed Touch and Go offshoot Quarterstick Records (coincidentally, also Quarterstick's debut release as well). Three-Chord Monte opens with the anthemic "Through My Fingers", which is John Haggerty's sound to a T. Possibly the greatest Chicago punk song ever, at least in the top 5. And the other three tracks on the EP are none too shabby either.

THREE-CHORD MONTE
1990 Quarterstick Records



01 Through My Fingers
02 My Youth
03 Fade Away
04 Method

- -

1991 saw the band release their debut LP, also recorded in Chicago by Iain Burgess, entitled Strong Reaction. With more of the same stellar playing and songwriting, this record just solidified the impact generated by the EP and presented the band to the world. Tracks "Strong Reaction" / "Field Of Darkness" (also released as a 7" single) / "Superstar" are the standouts, with the rest nearly as melodically strong. It's hard to locate a single bit of filler in the bunch, this record truly is one of the greatest Chicago punk sets EVER. Larry isn't the world's greatest singer, but it works here, and works wonders.

STRONG REACTION
1991 Quarterstick Records



01 Strong Reaction
02 Still Uneasy
03 Not What I Want
04 What To Do
05 Locomotivelung
06 Superstar
07 Field Of Darkness
08 Time Again
09 Believe
10 Hardlight
11 (untitled)

- -

Sometime following Strong Reaction, founder bassist Steve Saylors left the band. Yet with songs to record and a name to keep out there, to build on the goodwill created by the EP and debut LP, the band returned to the studio anyway, this time with Big Black / Rapeman / legendary engineer Steve Albini on bass. Albini also engineered the recording session, and the resulting EP Fore really digs down deep into the angular crunch of the band. Perhaps the band's hardest-sounding record, nonetheless the songs are great. And the cover art just has to be seen to be believed, who'd have thought they'd see Albini in golf attire ;)

FORE
1993 Quarterstick Records



01 Never A Question
02 Witnessed
03 Minutes To Hours
04 Jesus Christ

- -

Abini on bass was obviously only a temporary solution to the needing-a-bassist problem, with Albini's new band Shellac (not to mention his busy engineering career) demanding most of his attention. So, with Naked Raygun now in indefinite hiatus, legendary bassist Pierre Kezdy suddenly was free and Pegboy wisely snapped him up.

Moving on, 1994 saw the band's second LP Earwig come down the pipe. This time the band traveled to provincial France to record in Iain Burgess's newly built residential studio, and the resulting record is stellar. More of the same classic Haggerty guitars, and a more tuneful Larry (did he get vocal coaching?), mean this record will also get stuck in your ears. "You" is one giant slagpile of melody, and with perhaps a tighter vocal melody this might have been a hit. They also pull off a reverential Mission of Burma cover ("That's When I Reach For My Revolver", here shortened to simply "Revolver"), throw Clint Conley's original vocal track on top and you'd not know you weren't listening to the Burma musicians. And as far as I know, "Over The Hills" is Haggerty's first-ever acoustic track and it's spectacular.

EARWIG
1994 Quarterstick Records



01 Line Up
02 Sinner Inside
03 Gordo
04 Sideshow
05 Spaghetti Western
06 Revolver (Mission of Burma)
07 You
08 Blister
09 Wages Of Sin
10 Mr. Pink
11 Over The Hills
12 Louisiana

- -

The band basically dropped from the scene for a while, then came back in 1997 with the as-of-now final LP Cha Cha Damore, recorded by a returning Steve Albini. Featuring the same Damore/Haggerty/Haggerty/Kezdy lineup as the prior LP, this time the band returns to the more focused pop/punk of their earlier efforts, a choice that benefits supremely by Albini's recording methodology. The drums here sound amazing - as good as they've ever sounded on a Pegboy record - and the songwriting remains stellar. And the surprise cover this time? Cheap Trick's "Surrender", done with love and an obvious passion for the original.

CHA CHA DAMORE
1997 Quarterstick Records



o1 Dangerwood
02 Can't Give
03 You Fight Like A Little Girl
04 Dangermare
05 Dog, Dog
06 Liberace Hat Trick
07 Dangerace
08 Hey, Look, I'm A Cowboy
09 In The Pantry Of The Mountain King
10 Surrender
11 Planet Porno

- -

The band functionally disbanded in 2000 yet never officially gave up the ghost - they did pop up now and then for the odd one-off gig, but then in 2007 played the Touch And Go 25th Anniversary gig, and in 2009 toured in the summer with new bassist "Skinny" Mike Thompson replacing Pierre Kezdy (who had rejoined the reactivated Naked Raygun).

So I present to you all of the above, in compendium style, as is the wont of The PoIT. I'm only missing three tracks in their entire discography - the "Field Of Darkness" / "Walk On By" 7" single (what I've been able to track down online is pretty crap sounding), a Thin Lizzy cover "Emerald" from a 1995 Thin Lizzy tribute, and the 1996 "Dangermare" split single with Kepone.

Three RAR files as usual, gotta download each one.

Part I / Part II / Part III

Enjoy!

math rock: Rodan

On a trip this past weekend to faraway shores (of Chicago), the question was posited: What the hell is "math rock"? And why doesn't my local record shop have a "Math Rock" section?

Rather than go on some long-winded treatise on what makes a math rock band so mathematically mathy, one can basically point a finger at Louisville, KY circa 1989-1993 and there you go. Why Louisville? Ask the legendary Slint, the main proto-math act that also happened to call Louisville their home. For some reason kids in the late 80s/early 90s took the pummeling Chicago sound of Big Black, Naked Raygun and their ilk, matched it with Sonic Youth and 1970s Prog Rock (Yes, King Crimson, etc.), and fashioned their own unique take on indie rock. With precisely mapped out songs that start and stop on a dime, switch time signatures with abandon, and have carefully-laid-out angular, interwoven guitars sitting meshed with sometimes spoken, sometimes screamed vocals, the classic math rock acts carved out their own little niche that - with the notable exception of Slint - received little attention from the rock world at large.

And it basically happened in Louisville.

Slint begat, well, just pop over to Wikipedia for the family tree.

During the mid-Slintocene age, in 1992, Rodan formed. They released a record and promptly broke up, before they reached critical mass (as some thought was just around the corner). They too begat a family tree that needs parchment scrolls to map out - each baby carving out the next ring on the math rock tree.



And so today we begin our lesson plan with Rodan's only LP, 1994's Rusty. Named after recording engineer Bob "Rusty" Weston, bassist in Shellac and legendary engineer that follows the same ethos as Steve Albini, this record is Math Rock 101. Starting with the beautiful - and I mean that in the classical sense, as in "stunning beauty" - leadoff track "Bible Silver Corner", just when you've settled in for a nice late-night listening session, a dry red wine in hand, you get pummeled with the hardcore of "Shiner". Then things fly off the deep end with the uncategorizable, epic sprawling of "The Everyday World Of Bodies" at which point you're hooked for life. "Jungle Jim" brings it back down to earth a bit, but then angular-guitars itself into Tweezland (ref: Slint's debut LP Tweez). "Gauge" is a nice summation of things to this point, with "Tooth Fairy Retribution Manifesto" closing things out on a stellar note.

On a sad note, Rodan guitarist Jason Noble is laid up recovering from a very rare form of cancer, having just had surgery. I tried looking for a link to a donations area but failed to locate one - however there is this page which has some options to donate in Jason's name (as well as an area to follow his recovery).

So, with wishes streaming to Jason for a speedy recovery, let's enjoy Rusty.


RODAN Rusty
(1994, Quarterstick Records)



01 Bible Silver Corner
o2 Shiner
03 The Everyday World of Bodies
04 Jungle Jim
05 Gauge
06 Tooth Fairy Retribution Manifesto

one zip file for you to enjoy!

hats off: The Connells - Darker Days

Your humble blogger just upgraded to Windows 7 and while there's loads to recommend it over the Vista nightmare, it still takes some getting used to. I have to say the new taskbar and its OS X-style iconification is pretty cool but I'm still confusing myself over which apps that I've pinned are actually open or not. Anyhow....



Raleigh, North Carolina's Connells were a band apparently designed by a bunch of college radio analysts. Jangly dueling 12-string Rickenbackers, check. Morrissey-style crooning, check. Indie label, check. R.E.M.-style songwriting, check. That all being said, the band - while they did devolve into pseudo-Hootie alternacrap with their more recent post-1993 records - did at one point seem set to challenge the Smiths and R.E.M. for most favored status on college radio station playlists.

Their debut LP, 1985's Darker Days, is perhaps the most derivative of all - though some argue that they shared the same influences as the Smiths/R.E.M., hence a similar sound. But singer Doug MacMillan has admitted to a Morrissey/Ian McCulloch (Echo and the Bunnymen) fixation around this time, which would account for his strange vocal stylings on this LP that he'd soon abandon for a more gentle, less affected style.

The songwriting on Darker Days is top-notch though - and it's also very hard to find these days. So I'm presenting it here, slightly modified from the original release. It has some would-be-classics-in-an-alternate-universe such as the title track, "Hats Off" and the New Order-meets-R.E.M. vibe of "Dial It".

The band self-released it Stateside on their own label Black Park Records, and around the same time released it in the UK as well, on Demon Records. The tracklistings were different, and each release had a track the other didn't. I'm particularly fond of the UK tracklisting, however - it flows better and is a better introduction to the band. So what I did is re-create the UK tracklisting, and added on (as the final track) the track that was NOT released on the UK variant initially. (The later US release on TVT followed the original Black Park tracklisting.)

So enjoy!


THE CONNELLS Darker Days
originally released in 1985

UK cover:


US cover:


01 Darker Days
02 Much Easier
03 1934
04 Brighter Worlds
05 In My Head
06 Hats Off
07 Holding Pattern
08 Seven
09 Unspoken Words
10 Dial It

Track 05 from the UK vinyl on Demon

If you wish to hear the original US tracklisting, you would have it so:

Side 1: Hats Off / Holding Pattern / Seven / Unspoken Words
Side 2: Darker Days / Much Easier / 1934 / Brighter Worlds / Dial It

One zip file for your aural pleasure!

answer me: New Order "Run 2" Warners mixes

For a record that never got released in America, the US record company sure got a lot of internal mileage from this.



New Order's "Run 2" was the final single released from their 1989 bestseller Technique. UK label Factory released 20,000 copies of the 12" and only pressed up 500 copies on 7", for promotion only. "Run" minus the "2" appendage is the original version as it appears on Technique; American producer Scott Litt (known for his longtime association with R.E.M.) remixed and restructured it, hence "Run 2".

Then John Denver got involved.

Denver (or his lawyers) thought that "Run 2" ripped off "Leaving On A Jet Plane" and so sued the band. The case was settled out of court, and since then every New Order release since then that contains "Run" (or "Run 2") credits the song to the band and John Denver / his publishing company. For the official released versions I strongly suggest to wait for our friends over at the Recycle blog to get around to it in their release schedule (I've heard the preliminary mastering and folks, it's a must-grab once they post it, by far the best transfer I've ever heard from this notoriously noisy and poor pressing). The 12" version released in 2008 as part of the Technique deluxe edition is poorly mastered, at best.

But back to the reason you came.

I have NO idea if this record ever saw a release scheduled in the USA. American label Qwest/Warner Bros. ultimately never did release the single, to this day the only official avenue Stateside for the 7" mix is via the A Collection DVD (a Rhino DVD collecting the band's videos, it used the 7" "Run 2" mix). However, in-house listening pre-mix and mix candidate copies of all the tracks on the eventual FAC 273 12" ("Run 2", "Run 2 extended version", "MTO", "MTO minus mix") were circulating on cassette in California, the Warner Bros. offices, in summer 1989.

The majority of these mixes have not seen the light of day until now. 20 years later, I think it's safe to assume that the label won't give two shits about these being out. I have to thank the unnamed for these fantastic transfers, they are really interesting to listen to, they sound great, and while I think the best mixes were used on the release there are some mixes from the June cassette that are really good as well.

Please note that the overloaded bass distortion in parts of track 6 was there on the original transfer as well - which is a shame because if not for that, it would top the vinyl version in terms of less sibilance/noise.

These were all taken from original WB cassettes, which themselves were dubbed from either DAT or reel sources. I've cleaned them up as best I could and for the most part what you have here is release-quality, no 3rd-gen muffled recordings these are.

So enjoy, lossless FLAC even!


NeworderRun2MTO
Warner Bros. in-house cassettes

CASSETTE ONE
June 26 1989 "FROM DAT SOURCE"



01 Run 2 (7" edited master) 3:38
02 Run 2 (unedited old arrangement) 4:12
03 Run 2 (instrumental) 4:27


CASSETTE TWO
July 14 1989 "IN HOUSE STUDIO"



04 Run 2 (7" original) 3:40
05 Run 2 (7" remix) 3:40
06 Run 2 (12" mix) 5:25


CASSETTE THREE
August 10 1989 "FROM REEL SOURCE" "IN HOUSE STUDIO"



07 MTO 3:47
08 MTO minus mix 5:30


Spread across three RAR files, must get them all... Part I / Part II / Part III

enjoy!

dalliance: The Wedding Present vs. Steve Albini

Sometimes you own a record, you even like it, you listen to it off and on for almost 20 years, and then suddenly it clicks: The record you've liked for so long, is actually a masterpiece. Bits and bobs that you'd just hummed along to as the notes flew past, suddenly found their place in the collage of noise. And you wished the music never ended.



The Wedding Present record Seamonsters, from 1991, is that record for me. I've owned it since it was released in 1991, on import since at the time it had no US release. I liked it for two reasons: 1) singer David Gedge, while a terrific songwriter, can't sing his way out of a paper bag - just like yours truly; and 2) it was recorded by Steve Albini. But for almost 20 years it stayed just that - a record I was happy to own, but didn't get more than the odd listen over the years. Then one day "Suck" came on the ol' iPod and suddenly I was transfixed. It just was "one of those moments", I can't really explain it. The same with "Carolyn" with its oddly-Mancunian groove, the same with "Dalliance".

The rest of the record suddenly became the same way for me. Not a duff track in the bunch, I even loved the B-sides tacked on by US label First Warning to differentiate the record from the import version that had been in the shops for some time prior to the eventual domestic release.

I think Steve Albini has that magic "something" when it comes to engineering records. Nearly every record he engineers has that same "in your face" feeling, you often feel as if you're RIGHT THERE between the Marshall stacks or Hiwatt cabinets. The drums in particular sound spectacular on just about every Albini recording - I would kill to hear the drums soloed at the console one day.

So I went back and eventually tracked down every song the Weddoes recorded with Albini - and here they are, in their entirety. Starting in 1990 with the re-recorded "Brassneck" (originally recorded and released on the 1989 LP Bizarro) backed with three other tracks (including a song written by then-unknowns Pavement "Box Elder", a track discovered by Weddoes bassist Keith Gregory when visiting New York City in 1989, before virtually anyone had heard of Pavement), Albini went on to engineer the vast majority of Wedding Present sessions up to and including their third LP Seamonsters, released in 1991.

So first we have the "Brassneck" EP with its associated B-sides. Then, we get the "3 Songs" EP which introduced the classic "Corduroy" to the world - a re-recorded version would feature later on the LP. Then, we get the B-sides to "Dalliance" (the lead single off their forthcoming LP), and then we get the Seamonsters album proper. Then we have the "Lovenest" single in its entirety, and then lastly two more covers also recorded by Albini.

This collection of material is stunning in its breadth and power. The Weddoes, in your humble blogger's opinion, never bettered this material featured here - I'm even including their most recent record that has the Weddoes name on it, and was recorded by Albini, but doesn't rate at all.

So enjoy!


THE WEDDING PRESENT
The (classic) Steve Albini Recordings 1990-1991

01 Brassneck
02 Don't Talk, Just Kiss
03 Gone
04 Box Elder
05 Corduroy (single version)
06 Crawl
07 Make Me Smile (Come Up And See Me)
08 She's My Best Friend
09 Niagara
10 Dalliance
11 Dare
12 Suck
13 Blonde
14 Rotterdam
15 Lovenest
16 Corduroy
17 Carolyn
18 Heather
19 Octopussy
20 Lovenest (edit)
21 Mothers
22 Dan Dare
23 Fleshworld
24 Don't Dictate
25 Crushed

sources:

1-4 "Brassneck" EP, 1990


5-7 "3 Songs" EP, 1990


8-9 "Dalliance" CD single, 1991


10-19 Seamonsters LP, 1991


20-23 "Lovenest" CD single, 1991


24-25 Singles 1989-1991 2xCD, 1999



Oh you want the links?

Part I / Part II ----- two RAR files, as usual.

Thanks due to Tock and Jan...........

whisperin' while hollerin' : fIREHOSE

Earlier on your humble blogger blogged the Minutemen - amongst postpunk's most holiest of bands. They suffered their untimely demise with the sad passing of guitarist/singer D. Boon in a car wreck in late December 1985, in the Arizona desert.

Guitarist and Minutemen fan Ed Crawford, from Ohio, couldn't bear to see the remaining Minutemen musicians Mike Watt (bass/vocals) and George Hurley (drums) - a legendary rhythm core in their own right - out of the music scene. So having found Watt in the phone book, Ed picked up the phone, called Watt, and eventually wound his way to San Pedro, California to seek an audience with Watt and Hurley. The three musicians eventually formed fIREHOSE (the name taken from Bob Dylan's "Subterranean Homesick Blues"), with Crawford (soon christened Ed fROMOHIO) on guitar and Hurley/Watt in their traditional roles.



Ed fROMOHIO was no match for D. Boon when it came to guitars, so he didn't even try. Rather, Ed approached his songwriting from a more folksy perspective, influences ranging from Neil Young to the legendary Elizabeth Cotten's fingerpicking style.

fIREHOSE recorded three alterna-classic albums for SST Records before jumping ship to major label Columbia in 1991. This entry focuses on their indie years; the two major label LPs on Columbia had their moments but are nowhere near as essential - and exciting - as their SST product. Ranging from punk to No Wave to Lemonheads-y pop to Nick Drake folk to their own style of punk jazz, each record is different and each one a stylistic growth from the previous release.

I saw fIREHOSE quite a few times live back in the day - all prior to their departure from SST. You will not find a more humble, genuine guy than Watt in this business. And you will not ever find a bassist break more bass strings in 90 minutes than Watt either. I miss this band, I miss Watt's spieling from on stage, but most of all, I miss the energy and excitement these guys always brought.

Anyhow... on with the music!

fIREHOSE
The SST Years
1986-1989 inclusive


"Ragin', Full On" (1986, SST 079)



01 Brave Captain
02 Under The Influence Of Meat Puppets
03 It Matters
04 Chemical Wire
05 Another Theory Shot To Shit
06 On Your Knees
07 Locked In
08 The Candle And The Flame
09 Choose Any Memory
10 Perfect Pairs
11 This...
12 Caroms
13 Relatin' Dudes To Jazz
14 Things Could Turn Around


"if'n" (1987, SST 115)



01 Sometimes
02 Hear Me
03 Honey, Please
04 Backroads
05 From One Cums One
06 Making The Freeway
07 Anger
08 For The Singer Of REM
09 Operation Solitaire
10 Windmilling
11 Me & You, Remembering
12 In Memory Of Elizabeth Cotton
13 Soon
14 Thunder Child


Sometimes, Almost Always EP (1988, SST 131)



01 Sometimes
02 She Paints Pictures
03 Rhymin' Spielin'


"fROMOHIO" (1989, SST 235)



01 Riddle Of The Eighties
02 In My Mind
03 Whisperin' While Hollerin'
04 Vastopol
05 Mas Cojones
06 What Gets Heard
07 Let The Drummer Have Some
08 Liberty For Our Friend
09 Time With You
10 If'n
11 Some Things
12 Understanding
13 'Nuf That Shit, George
14 The Softest Hammer


Three RAR files as per usual......... part I / part II / part III

songs for a blue guitar: Red House Painters

Flash flooding. Relentless torrential rains. Studying for a test for a class your humble blogger is taking. What better listening material, considering the day I've had today (when I was initially writing this post), than the album that is perhaps the summation of songwriter/guitarist/singer Mark Kozelek's Red House Painters ethos - melancholy acoustics, yearning vocals, the odd Neil Young-ian guitar workout, mixed with sad, forlorn pedal steel?



A solo record in all but name only, this San Francisco band recorded Songs For A Blue Guitar while under contract with, and for, longtime label 4AD - however, the record only saw release after 4AD dropped Mark Kozelek for reportedly refusing to cut down the Neil Young workout on "Make Like Paper". Eventually signing with Island, Island picked it up and punted it out in 1996. Of course Kozelek didn't stay there either, joining labels Badman Recording and Jetset for some future projects, and Sub Pop for the final Red House Painters LP in 2001.

You'll know after the first three tracks if you're a Red House Painters fan. Those three tracks - "Have You Forgotten" / "Song For A Blue Guitar" / "Make Like Paper" are the RHP tryptych and "HYF" could be up there for the best RHP song of all time. Not to be confused with the rocking-out variant Kozelek re-recorded for friend Cameron Crowe to include on the Vanilla Sky soundtrack of course - though I've tacked that version on at the end as well.

Mark Kozelek is also known for his AMAZING cover versions, a few of which feature on this set: Yes' "Long Distance Runaround", the Cars' "All Mixed Up", and Sir Paul's "Silly Love Songs" which is perhaps the best of the bunch here. Though you absolutely must check out his collection of AC/DC covers, I shit you not (released as a solo LP titled What's Next To The Moon). And who ever knew Genesis' "Follow You Follow Me" was a fantastic song? It is when Red House Painters play a beautiful acoustic cover of it (here!)......

Anyhow... Enjoy the music. And if you get sucked in - as I did from this record back in 1996 - you'll never get out of the Kozelek-universe and you'll be glad for it. He continues to write and record beautiful, amazing music as Sun Kil Moon, and still plays covers.

RED HOUSE PAINTERS Songs For A Blue Guitar
1996 Supreme Records / Island Independent

01 Have You Forgotten
02 Song For A Blue Guitar
03 Make Like Paper
04 Priest Alley Song
05 Trailways
06 I Feel The Rain Fall
07 Long Distance Runaround
08 All Mixed Up
09 Revelation Big Sur
10 Silly Love Songs
11 Another Song For A Blue Guitar
12 Have You Forgotten (electric arrangement from Vanilla Sky soundtrack)

Part I / Part II (split RAR files as usual)

Will take requests for additional Kozelek posts ;)

The Boo Radleys - Everything's Alright Forever

Is this 1992 LP by that other Liverpool band The Boo Radleys the best post-Loveless (My Bloody Valentine) shoegaze LP there is?

Perhaps.

I am not feeling too chatty tonight. That, or I'm simply not as deeply familiar with the band at hand tonight, or full of a wealth of useless nuggets as I am for other bands. But who says every post has to be my blathering?



Everything's Alright Forever is just a great, GREAT out of print record by a band that quickly escaped this classic sound just as the backlash started. When the UK press beat down the 'gazers, the Boos put out Giant Steps - a record that sounds like Britpop played by shoegazers, with a bit of the classic Rough Trade dubby catalog mixed in.

Giant Steps receives all the critical accolades, but this record is better. And the dynamics are utterly amazing - you can HEAR the volume swells.

Incidentally, I have an unused ticket (number 001) from November 1992 for the cancelled Sugar/Boo Radleys gig that was to be held at The Colorado College in Colorado Springs, Colorado. I ran the college's live music committee, I booked Sugar who were bringing along the Boos as support (they were both on Creation in the UK), and then the Colorado voters passed a hateful anti-gay-rights constitutional amendment that forced Bob Mould to cancel all Sugar gigs in the state. So the interview for the college paper I conducted with singer Sice that fall, which was never published due to the gig cancellation, remains unpublished. It was on micro-cassette and I no longer have the cassette, or a micro-cassette player even if I did have the tape, so his musings are forever lost to history. A damn shame because it was a great interview!

Regardless, I never got to see the Boos live so I hope they were as good as the record is!

THE BOO RADLEYS Everything's Alright Forever
(1992 Creation Records CRECD 120)

01 Spaniard
02 Towards The Light
03 Losing It (Song for Abigail)
04 Memory Babe
05 Skyscraper
06 I Feel Nothing
07 Room At The Top
08 Does This Hurt?
09 Sparrow
10 Smile Fades Fast
11 Firesky
12 Song For The Morning To Sing
13 Lazy Day
14 Paradise

one file! grab it here!

tO2: The Other Two 1992 advance promo

When New Order went to ground after 1989's Technique and the tour that followed, the band famously split into three camps: Bernard Sumner hooked with Johnny Marr (and occasionally Neil Tennant) to make Electronic; Peter Hook started Revenge, and the other two Stephen Morris and Gillian Gilbert formed, well, The Other Two.



Bernard's project scored the greatest acclaim (well, you would, if you featured the greatest UK indie guitarist in Johnny Marr paired up with Barney) and fame, Hooky's gig earned laughter (and a few points), while Steve and Gillian were basically ignored - and left to churn out perhaps the least-known, best-written, most New Order-ish material of the bunch.

Debuting on Factory in 1991 with the instantly-catchy single "Tasty Fish" (a track Factory boss Tony Wilson despised due to it's obscene poppiness), the Other Two then went on to record tracks for their as-then-untitled debut - which eventually received a Factory catalog number, FACT330, and saw at least several test pressings run off in September 1992. Prior to the LP being issued, Factory went bust in December 1992.

In the meantime New Order had regrouped and recorded Republic - an LP that divided fans' opinion of the band, and an LP that ended with a New Order track in name only, "Avalanche" - which was purely an Other Two contribution.

Though the Other Two's LP was technically ready for release, the re-activated New Order took all attention and focus. Meantime, US record company Qwest circulated at least a handful of promo cassettes of the Other Two's LP as well - at least six months prior to the record's eventual release, and David Sultan of www.worldinmotion.net states this promo cassette actually was run off in 1992. I remember listening to a dub of this Qwest promo, and the then-new New Order LP Republic, at roughly the same time in late spring/early summer 1993 - so it's entirely possible it existed in 1992.

The LP eventually saw release in October 1993 on Centredate/London Records in the UK, and Qwest in the US, entitled The Other Two & You.

Presented here is a very clean recent transfer of an actual Qwest promo cassette, the cassette itself dating from 1992 or early 1993. The tracks are mostly the same as the released version, but there are some significant differences in "Selfish" and the variant here is not available on any other release. There may be minor differences in the other tracks as well, but I've not given it a close A/B comparison.

So enjoy - in lossless FLAC too!


THE OTHER TWO The Other Two & You.
Qwest advance promo cassette, 1992/1993

01 Tasty Fish
02 The Greatest Thing
03 Selfish
04 Movin' On
05 Ninth Configuration

- - - A / B split here - - -

06 Feel This Love
07 Spirit Level
08 Night Voice
09 Innocence
10 Loved It (the Other Track)

The cassette originally featured a minute-long period of silence at the end of "Innocence" to give the appearance of "Loved It" being a hidden track, which I've preserved here.

Part I /// Part II /// Part III (three RAR files as usual, lossless FLAC)

enjoy! Links should all work out-of-the-box this time.