The eleventh release on the Boy's Own label is a particular favourite of mine. It was the first record by Fire Island, Terry Farley and Pete Heller both part of the Boy's Own team. It was also one of the fe releases that didn't come with a remix 12" meaning it was a bit lighter on the pocket, although I appear to own 3 copies of it now! Unashamedly bouncey house music I love all four tracks on the single but In Your Bones just edges it.
We're at the penultimate track from A Short Film About Chilling and the track is a belter. Hoomba Hoomba by Voice of Africa is a slowed down and blissed out version of a track from the mid 80s by Jasper Van't Hoof, a Dutch Jazz pianist apparently. I have used "blissed out" on more than one ocassion in regards to tracks from this programme, lazy I know but I can't think of a better term. I had this on an absolutely stonking tape that my mate Colin's pal in Oban made him up which was filled with things like this, Never Get Out of The Boat and other down tempo tunes just right for the early hours of the morning. It took the internet and Discogs for me to eventually get my hands on a vinyl copy.
Talking of blissed out tunes I'm off to see The Orb on Saturday night, it will be twenty years since the last time I saw Dr Alex Paterson live. Jesus!
For about a month in the early summer of 2003, Sumday, the third album by Grandaddy rarely left the turntable and then it sort of got filed away and hasn't been revisited that much until a couple of weeks ago when I saw it and thought to myself "not heard that in ages" put it on and have played it half a dozen times since. The band's previous album The Sophtware Slump is held up as the high point, NME put it at number 34 in their Greatest Albums of The Decade but I have always preferred Sumday even after it being likened to ELO in some review or other. I have no idea what the lyrics to Stray Dog And The Chocolate Shake are all about but the song always makes me smile.
The tenth release on my favourite label of 1992 was the second in a row by One Dove and this did not disappoint. Unlike Fallen, Transient Truth was new to me and so my only thought before buying this one Thursday in 1992 from Dub II in Glasgow was, it can't possible live up to the promise of Fallen and of course it didn't but it came damn close. That great big dubby bassline, the squelchy bits and Dot's ever so sexy breathy vocals just the thing for the post club wind down or any other time really. The record once again was produced by Weatherall and his Sabres of Paradise muckers Jagz, and Gary Burns. The 12" also contained a further two mixes of the song the Old Toys mix and The Old Toys dub.
For years I had heard of a further 12" remix of this single with more mixes by the Sabres of Paradise but it took until 2007/2008 before this was confirmed and not just a fable. This came courtesy of STX and his excellent, sadly no longer with us blog Audio.Out where he posted all four of the mixes. These mixes were more squarely aimed at the dance floor than the versions on the original single and were quite lengthy ranging from six and a bit minutes to over ten. It took a further couple of years before I took the plunge and paid the forty quid asking price for a copy of the 12" on Discogs and then one drunken night I saw another copy for half that price that I decided to buy as well. I am unsure of the thinking behind this purchase but it was probably perfectly sound reasoning at the time. This copy has gone to a good home where it is loved and cherished I'm sure.
Today's track is probably second only to At The River by Groove Armada in it's inclusion on the Now !That's What I Call Ibiza Chillout and The Greatest Balearic Navel Gazing Classics type compilations. This is not to say that the record is not good, it is an amazing track and in the context of 1990 was new and fresh. Just the sort of thing to listen to when you were contemplating a night out clubbing or even better with a great big spliff in that post club blissful comedown.
A Man Called Adam are now synonymous with that Balearic vibe due to tracks like Estelle and The Easter Song. Barefoot in The Head was the track that made people sit up and take notice of them, there had been a few releases prior to this including a couple on Acid Jazz which were in the same sort of vein as the rest of the Acid Jazz output but by the time of BITH, the sound had changed, the previous single was a bit more Housey and Barefoot keeps that vibe but manages to instill a laid back feel even though the bpms are still high enough to dance to. The spoken word sample comes from Rod McCuen and is lifted form the track The Gypsy Camp by the San Sebastian Strings. Paul Daley and Sally Rodgers from the band can be seen and heard on A Short Film About Chilling, both of whom look completely "chilled".
This weekend I will be mostly building an ark, if this rain keeps up.
For a good few years I was a bit obsessed by Swedish Indie and the quality of the stuff coming out of the Scandinavian country was so consistently good that I would buy stuff just on it hailing from Stockholm, Lund or Gothenburg. Leaves the album by Like Honey was one of those purchases didn't know anything by the band beforehand and still know nothing about them. Don't think they recorded anything else after this. The album is jam packed with jangly guitars, honey sweet melodies and vocals and the odd thrashy song perfect for indie shuffling. All in all very good stuff indeed.
I was never all that fussed by EMO, probably because I was on the wrong side of the Atlantic and also about 10 years too old for the demographic it was aimed at when it was at it's height so I mainly ignored the genre altogether. Every so often a track did come to my attention and I thought that's alright but the only one that has sustained the test of time for me is Hands Down by Dashboard Confessional. This MTV Unplugged version certainly highlights the fervour of the fans for Chris Carrabba's band.
Dashboard Confessional - Hands Down (Live Unplugged version)
I am finding it very difficult to articulate my feelings around the Paris atrocities at the weekend and all of the guff that has followed it. On Saturday night I found myself very angry with Max and more so with my parents as he came in and asked "did you see what went on in Paris? And we are letting these people into our country", he was referring to first batch of Syrian refugees that are being welcomed to Scotland this week. Obviously my parents had been discussing this and they have adopted a Daily Hate (Mail) opinion on the matter , a state of affairs that is becoming increasingly more common with them and concerning me more than a little! I tried to tell Max that just like from the 70s until the peace process not every Northern Irish Christian was a catholic or protestant terrorist intent on blowing the shit out of the other side or the British State, not every Syrian was a member of Daesh. He replied to this that I was naive and would be sorry when Glasgow was bombed. I tried to explain to him that the western world was more than a little responsible for what was going on in the middle east and the feelings of hatred towards us. I also tried to get it through to him that 99.99% of the refugees were genuine and were afraid for their lives and fleeing terror and not intent on blowing up Britain. I think in the end I got through to him
I am concerned that the kind of views that Max expressed on Saturday night are being soaked up by a lot of people here not because these people are racist or Islamaphobic but who are frightened of different cultures that they don't understand because of the the kind of muck that they are reading on social media, the mainstream print media and are hearing on the TV. People who have an agenda and a bit of a profile are trying to scare and influence and I fear are beginning to be successful. We can't stand back and allow this to happen those of us who think that we should be an inclusive, tolerant country need to stand up to this agenda and show it for what it's worth at every opportunity that presents itself. The flaws and out and out hatred of these peoples views need to be pointed out and ridiculed. If we don't then Daesh and the right wing xenophobes will win and I really don't want to live in a world where these kind of scumbags prevail.
Today's superb slice of soul is another single out of Shreveport Louisiana and the Jewel records subsidiary Ronn, I'm Waiting was the flip side to A Velvet Touch and was recorded in the back room of a TV repair shop in Shreveport, I once saw this track described as an "effortless groove" and that's it in a nutshell.
A bit of blog serendipity going on here. Yesterday SWC on one of his excellent guest posts mentioned this blog and this series in particular he also picked Fallen but the album version as one of his tracks, spooky or what as this post has been lined up for a while.
The ninth release from the Boy's Own stable was one that I awaited for as eagerly as I would have awaited Christmas as a wean. I couldn't quite believe it when I read somewhere, I don't remember where that Weatherall had gotten his hands on my favourite record by a mile from 1991 and was going to release a remix of it on Boy's Own. This was the stuff of dreams. Fallen and the similar sounding Come Alive by Orchestra JB sound tracking the winter of 91/92 for me. However when I eventually procured a copy of it I was immensely disappointed with what I heard. It's not that Weatherall's main mix of Fallen (Nancy and Lee mix) is bad it isn't and if I hadn't played the Soma released original so many times I would have loved it but I didn't feel that he added anything to it. I don't know what I was expecting as it is pretty hard to better perfection and Fallen in it's original incarnation is pretty near perfect for me. The Farley & Heller mix is just plain wrong, this tune was never meant to be an upbeat dancey number and it's Farley & Heller by numbers. The Monday Morning at Bobby N's is okay but nothing special. All in all this release was a bit of a a let down for me but it didn't stop me buying Boy's Own releases and the next one was awaited only with slightly less impatience than BOIX 9.
Have you ever wondered why the version on Morning Dove White is different to that on the single, no? Well I'll tell you anyway, the Boy's Own single was withdrawn a week or two after release as it contained an unlicensed sample from a Supertramp song, the actual one I can't remember and therefore the track had to be mixed again for the album.
You may be glad to discover that there aren't too many tracks left from the soundtrack of a Short Film About Chilling, just three more after today's.
Having spent time in Aberdeen in the late 80s I was aware of who the Shamen were but hadn't really listened to much of their stuff, I had quite liked In Gorbachev We Trust but hadn't bought the album. On the recommendation of a friend I bought Pro>gen which I played quite a lot for a few weeks. I read somewhere that there are thirty odd mixes of this tune if you include the rerelease the following year entitled Move Any Mountain, you only need to have the Land of Oz mix which was mixed by Paul Oakenfold.
Third take on top of the table when the Diamonds host Dunfermline tomorrow. Oh how I would love to see us victorious not least as I know how annoyed a certain big streak of pish that was once married to a good friend of mine will be. Petty? You better believe it.
I got this on 12" single the other week so it's not for download as it is still available for sale. It's a bit gothic I can hear a lot of the Banshees and other vampire styled bands which would normally put me right off but I think that the Dan Carey production which is in a similar vein to the stuff he has done with Sexwitch and Toy makes it so appealing. It has had a fair amount of deck time recently.
What is slightly more troubling than my turning to the dark side is that on Monday on a whim, while strolling back towards Waverley Station I popped into Fopp and bought 1989 by Taylor Swift. I may still have been drunk as L and I were in Edinburgh for an overnight on Sunday but I doubt it due to the price of beer in Stockbridge! Anyway, I have to admit that it is now stuck to the turntable, it's magic except for Bad Blood which is a bit meh. I really do like this album, not in some ironic hipster way I think it is very well crafted pop music. Until a few weeks ago I knew who Ms Swift was due to her removing her music from Spotify which I rather approved of but had never knowingly listened to any of her music, then I heard Ryan Adams version of Shake It Off which sent me to the original which I think is absolutely fantastic. I asked L if she had heard of her and she told me that she had bought 1989 on cd and had played it a few times but I was obviously not listening.
By the way, Max is totally embarrassed and I also think disappointed as he thinks "Swift is crap".
I'm not sure I should have confessed to either of those things.