Heaven Or Hell

This cutting from the NME in 1990 came up on social media a few days ago, fifteen song recommendations from three DJs- Danny Rampling, Terry Farley and Andrew Weatherall- all played in Ibiza that summer, for readers to check out (well, fourteen actually as one of Mr Weatherall's is in fact a DJ set by Glenn Gunner, played at the Cafe del Mar, Lord Sabre listing the record label as 'fond memory'). 

Both Rampling and Weatherall recommend Heaven Or Hell by L.U.P.O. Released in 1990 Heaven Or Hell is a beauty, with a bouncy Italo bassline, Eurodance keyboards and synths and a sassy vocal from Cathy Adams. L.U.P.O. was German producer Lutz Ludwig, resident at Munich's P1 club turned house/ techno/ trance producer. 

Heaven Or Hell (Extended Mix)

Both Weatherall and Farley submit Raise by Bocca Juniors, a record they made- a little bit of self- promotion never did anyone any harm did it? 

Monday's Long Song

On his recent radio appearance with Heidi, posted here if you missed it, Andrew Weatherall dropped the news that back in 1993 when questioned for the NME's end of year poll Mark E Smith's nomination for Wanker Of The Year was Andrew Weatherall. He didn't go on to say what had gone down between them other than that he (Weatherall) had been lined up to produce an album for The Fall and then for reasons unspecified it didn't happen. If you want to dip in, it's at around forty five minutes into the show.

Then Weatherall played this from 2005's Fall Heads Roll, the centrepiece of that album led by a filthy, churning, propulsive bass guitar riff and chugging drums. Mark speaks into the microphone of walking bass, Aristotle Onassis, Jane Seymour, Calvary and cavalry, Prestwich, Deansgate and Moscow Road, eight minutes that once again proves Mark E Smith and whoever was playing with him at that time were indeed The Fall and that they were capable of coming up with moments of genius. 

Blindness

River Splashes Against The Rocks

There's yet another thirty year anniversary taking place today. Three decades ago today The Stone Roses played Blackpool's Empress Ballroom, a summer jaunt to the coast by a group then riding the absolute crest of the wave. The gig was the first of the group's one off specials, an attempt to stage gigs that were out of the ordinary, to give fans something special. The Empress Ballroom, part of the Winter Gardens, is a beautiful room with Victorian coving, a sprung floor, balconies and glass chandeliers. The band spent the day of the gig larking abut on the seafront for the NME's photographer before playing a perfect show. A Dave Haslam DJ set warmed the crowd up (not they needed it, everyone was more than ready and in the mood). Ian took to the stage with a flashing yo-yo and a cry of 'Manchester, Manchester, international, international..' and then it was take off- most of the debut album plus Where Angels Play and Mersey Paradise.

Mersey Paradise

Thirty years on from its appearance as the B-side to She Bangs The Drum and the penultimate song played at Blackpool, Mersey Paradise became the song of our summer holiday this year. My daughter, a slowly growing interest in Manchester's musical history, suddenly declared that the song was her new favourite. It's one of mine too, full on psychedelic pop- Squire's fast, circling, chiming guitar riff and Reni's brilliant drumming (and backing vocals) power the song onward through it's two minutes forty-four seconds. Ian surfs on top, the words tumbling on top of each other, occasionally bubbling up for the listener to singalong- 'she doesn't care for my despair', 'river cools where I belong'.

It turns out that I've been singing the wrong words for nigh on three decades- 'river splashes against the rocks/ A slow escape and hope the tracks won't/ lead me down to docklands/ it's all places where we fall to pieces' has been my version since 1989. According to all the lyric sites it's actually-

'River splashes against the rocks
And I scale the slope, I hope the tracks won't
Lead me down to dark black pits
Or places where we fall to bits'

Can't see me changing that habit now but you live and learn. Thankfully I'm much better with the second verse.

'As I stare an oil wheel comes
Sailing by and I feel like
Growing fins and falling in
With the bricks, the bikes, the rusty tin cans
I'll swim along without a care
I'm eating sand when I need air
You can bet your life I'll meet a pike
Who'll wolf me down for tea tonight'

There's a lack of guile and a real pre-fame sense to the words to Mersey Paradise, lyrics that they couldn't have written later on. The Mersey runs through south Manchester, forming a southern border to Chorlton, where Ian and John lived at the time most of the first album's songs were written and it's easy to imagine the song being written following a walk in Chorlton Waterpark. The words hint at something darker too, a drowning, love, heartbreak and despair on the banks of the river. A song they put on the B-side of a summer single too along with the much longer, majestic, Hendrix pop of Standing Here. Who'd have guessed that within in a year it would be all over? Or that a B-side from a 12" single in 1989 would still be turning kids on to the band in 2019?

Tristessa

On Saturday night while The Chemical Brothers were block rocking the Other Stage at Glastonbury talk on Twitter turned to the then Dust Brothers 1994 Xmas Dust Up, a cassette given away free with the NME in December 1994. The tape was mixed by Ed and Tom, a window rattling, volume- all-the-way-up, seven song mixtape.

Side 1
The Dust Brothers- Leave Home
Bonus Beats Orchestra- Bonus Beats
The Prodigy- Voodoo People (Dust Brothers Remix)
Depth Charge- Shaolin Buddha Finger

Side 2
Renegade Soundwave- Renegade Soundwave (Leftfield remix)
Strange Brew- One Summer ('Lektrik Dawn Dub)
Manic Street Preachers- La Tristessa Durera



Just looking at the sleeve and reading the tracklist transports me back to this cassette causing difficulties for the speakers in a red Nissan Micra back in 94/95- it used to get played a lot for a while.

Bonus Beats Orchestra was Tom and Ed Dust/Chemical under another name. Depth Charge were ace, the 9 Deadly Venoms album was trip hop and big beat before either really got going, and chock full of samples from martial arts films and horror movies. I've posted Renegade Soundwave before and the Leftfield remix is particularly good. Strange Brew were a duo from Manchester, one half of whom, Jake Purdy, lived down our street when we were kids. We'd long lost touch by the mid 90s but used to knock around in a gang all the time in the mid 80s. Funny to have a little childhood, local connection with a free NME cassette. Helpfully someone has transferred their copy of the tape digitally and uploaded it to Youtube. The beats sound quite timelocked but as a whole this still sounds fairly fresh I think.





The Dust Brothers would become The Chemical Brothers not long afterwards. Their remix of La Tristessa Durera was done while still Dust and isn't subtle-  squealing noises from the start, various samples from Ed and Tom's pile of odds and ends, lots of sirens and James' vocal. La Tristessa Durera- the sadness endures forever- was written by Richie taking the point of view of a war veteran wheeled out once a year on Poppy Day as a 'cenotaph souvenir', poverty causing him to sell his medal. It is one of the best early Manics songs, showing behind the eyeliner, shock quotes and bluster there was some genuine talent.

La Tristessa Durera (From A Scream To A Sigh) (Chemical [Dust] Brothers Remix)

Money In My Pocket

More 70s reggae today this time from the man Bob Marley called The Crown Prince of Reggae, Dennis Brown. Stop Your Fussing And Fighting was a 1979 single, a slice of roots reggae that makes the world stop for a few minutes.

Stop Your Fussing And Fighting

Also in '79 Dennis appeared on Top Of The Pops with Money In My Pocket, a number 14 hit. It was a song Dennis had originally recorded in 1972 with Joe Gibbs. This newer version, backed with a deejay version of Cool Runnings, made Dennis an international star. He had already toured the UK with Big Youth in '77 and the following year moved to London, living in Battersea and benefiting from a major label distribution deal. Money In My Pocket has a killer vocal, an uptempo lament at his lack of love.

Oh My Darling Who Wants To Be Free?

Valentine's Day is approaching. In 1977 The Slits turned the punk boys club upside down a little and lyrically turned listeners upside down a lot. Love and Romance is about male possession of women and how relationships can lead to loss of freedom with some killer lines- 'I'm so glad that you belong to me, oh my darling who wants to be free?' and 'loves a feeling and so is stealing' among them. Not traditionally how song writers approached the subject of love.

Love And Romance (Peel Session)

Top Of The World

The Christmas edition of the NME used to be a big thing. Now the NME is given away for free by the doors in Top Shop but it was always a big deal back in the day. Double sized (88 pages!), albums and tracks of the year, alternative rock stars and indie bands in fancy dress, Shaun and Bez pissed and stoned... enough to keep you going through the long hours when there's nothing to do at a family Christmas.

In 1989 The Stone Roses were the NME's band of the year and it flew them out to Switzerland for photographs on top of a mountain. That year they had done a nationwide tour picking up converts on a daily basis, put out their debut album plus 3 singles, and played two era-defining gigs (at Blackpool in August and Ally Pally in November, plus Top Of The Pops). The two album based singles had B-sides that were as good as most of the album tracks (Made Of Stone in March had Going Down, She Bangs The Drum in July had Standing Here and Mersey Paradise). In November they put out the double A-side of Fool's Gold and What The World Is Waiting For, a game changer if ever there was one. They would never be that good again and in some ways 1990 would do for them- they stalled and lost the lightness of touch and sureness that in 1989 had put them on top of the world.

This Is The One

A year later NME's writers crowned Happy Mondays as the band that made 1990 tick. In the summer Step On made them pop stars. In November they put out Kinky Afro, produced by Paul Oakenfold and Steve Osborne, a move that found them with a sound perfectly suited for the times and with a lyric that is unmatched. The extended Euromix (by Oakenfold and Osborne) made its way onto various releases (the USA and Australia both got the Euromix). My mp3 version is from The Factory Tape that came with Select magazine in 1991.

Kinky Afro (Euromix)

I've not posted Low's Just Like Christmas yet this year, something I have done most Decembers at Bagging Area. It is a delight, from the rattling drums and sleigh bells to the sweetly sung words describing the band travelling from Stockholm to Oslo in the snow while on tour.

Just Like Christmas

I hope all of you have a wonderful Christmas, whatever you're doing and wherever you're doing it. See you in a few days for the post-Christmas lull.