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Showing posts with label tracey thorn. Show all posts
Showing posts with label tracey thorn. Show all posts

Sunday 24 September 2023

Forty Minutes Of Tracey Thorn

A January 1995 episode of Top Of The Pops came up on the repeats on BBC4 recently including this performance of Protection, Tracey Thorn and Massive Attack in imperious form. Protection is one of the 90s best songs, a genuine jaw dropper on first and subsequent listens and a song its impossible to turn off once it starts. Tracey's voice is perfect for the song, her singing a perfect blend of strength and hurt and her lyrics, switching the gender around mid- song, spin the song around. Protection, the album, came out in  September1994. Following up Blue Lines was never going to be easy but Protection mainly manages it with the title track and others- Karmacoma, Sly, Better Things, Three and Spying Glass, some of their best songs. The cover of Light My Fire less so maybe. But Protection is the towering achievement, a song that even mid- 90s Top Of The Pops can't ruin. 

Tracey's songs and recordings outside Everything But The Girl, both solo and with other people, are many and various. I thought, having listened to Protection a few times and then heading to the Andrew Weatherall remix of Tracey's Sister from 2018, that a Tracey Thorn solo/ collaboration mix might work. And it does. 

Forty Minutes Of Tracey Thorn

  • Protection (Brian Eno Remix)
  • Raise The Roof (Beyond The Wizard's Sleeve Remix)
  • Sister
  • Sister (Andrew Weatherall Remix)
  • Moving Dub
  • Night Time
Protection came out in 1995, one of the singles/ songs of the 90s. The 12" came with this Brian Eno remix, a ten minute ambient affair. It had already been the lead song on the album Protection, released in 1994 and an obvious choice for a single. 

Raise The Roof was a 2007 Tracey Thorn single, and on her solo album Out Of The Woods. Beyond The Wizard's Sleeve, Richard Norris and Erol Alkan's psyche outfit, twist it into new shapes and spaces.

Sister was the lead single from Tracey's 2018 album Record, a song with Corinne Bailey Rae and Warpaint's Stella Mozgawa on board. Tracey sings the line 'And I fight like a girl' and makes it sound like the toughest, most menacing line she's ever sung. Andrew Weatherall 's remix (and the dub version too) are ten minutes of late period Weatherall brilliance, chuggy, dubby remix splendour. 

Moving Dub is from No Protection, the Mad Professor dub version of Massive Attack's Protection. Moving Dub, with Tracey on vocals, is Better Things sent through the dub blender. 

Night Time is a cover of a song by The Xx, released as a standalone solo EP in 2011. It has husband Ben Watt on guitar. The Xx asked Tracey to cover it for a compilation of covers of their songs by their favourite artists they were planning. It never happened except for Tracey's cover. Drums, programming and production were courtesy of Ewan Pearson. 

Thursday 10 August 2023

Ten Leaves On A River Bank

One of the books I read on holiday was Tracey Thorn's My Rock 'n' Roll Friend, an account of Tracey's friendship with Lindy Morrison. Tracey first met Lindy backstage at a gig. Lindy marched into Everything But The Girl's dressing room looking for lipstick- Tracey describe's Lindy's entrance, Lindy depicted as a force of nature. She goes on to describe and dissect her thirty seven year friendship with Lindy and her part in story of The Go- Betweens. As the book goes on Tracy seethes with righteous anger about Lindy's role and position in the Australian band, how Lindy has been written out of the group's history- by journalists and when they reformed in 2000 by Robert Forster and Grant McLennan (a group she joined in 1980 and was an essential part of as a three piece and then five piece). Tracy articulates the way the music press played down Lindy's role, how it was often portrayed as being all about the two men, the songwriting partnership. Lindy was a key part in the band, not least visually- a tall, blonde, unconventional drummer playing behind two bookish men. 

The Go- Betweens moved to London, finding it a miserable, unfriendly, cold and wet place. They lived with Nick Cave and The Birthday Party- no one worked except Lindy, the men all falling into a life of being artists sitting around taking drugs and waiting for songwriting inspiration to strike. Lindy and Robert are in a relationship which implodes (and so does the band, the two men ending it in spectacularly sexist fashion, Robert sacking Lindy as simultaneously Grant sacked his girlfriend Amanda Brown- and was then surprised when Amanda left him). As I read the book I cringed slightly, wondering if I'd fallen into the same (male) trap when writing about The Go- Betweens. 

It's also a book about friendship and affection, the nature of female friendships especially, about connections and the passage of time, about the wild, frank and outgoing Lindy and the reserved and more cautious Tracey and what attracted them to each other. Lindy is the member of The Go- Betweens who is the most rock 'n' roll but as a woman she's criticised for her behaviour. She came from a feminist punk background and music journalists are terrified of her and describe her in ways they never would men. There is much food for thought within its pages. 

It's a book which requires little or no knowledge of anyone's bands either, of The Go- Betweens or Everything But The Girl, although it sits very well with having read Tracey's Bedsit Disco Queen and Robert Forster's Grant and I (Forster's book and its title alone support much of what Tracy is saying, Lindy once again written out of the story). Tracey writes really well, is incisive, self- aware and analytical. She is fairly fearless too in addressing aspects of relationships, her own as well as Lindy's. 

This song is on the 1984 album Spring Hill Fair, recorded in France. Producer John Brand used programmed drums on many of the songs and trying to get her to play to a click track which led to conflict with Lindy, conflict she didn't back away from. 

Draining The Pool For You

The second book I read was a novel, Benjamin Myers' The Perfect Golden Circle. It is the best novel I've read in years, an atmospheric, fully realised story of two men in the summer of 1989. One is Calvert, a traumatised Falklands veteran. The other is Redbone, a cider- punk veteran of free parties at Stonehenge and the Battle of the Beanfield living in a van. Their friendship is the core of the novel. In 1989 they are in their third summer of creating corn circles and through the long, hot summer of 89 they plan and carry off increasingly bold and intricate designs in farmer's fields in the south of England. Myers goes off into various places as the book unfolds, returning to the two men and the almost mystical aspects of their crop circles. It's a gentle and insightful book, beautifully written, poetic in parts and with characters that stick in the mind when the book is put down. 

In 1990 Led Zeppelin released a compilation box set with crop circles on the cover. I shared a house with someone who bought it and the front cover was eye catching even if I didn't care much for the music. On the whole I can live without Led Zeppelin- I like some of the first album and the folky, mystical songs on the third are good- but its a type of music that doesn't do a massive amount for me. Priapic cock rock- I can imagine Tracey and Lindy discussing it in those kinds of terms. I have a fondness for Kashmir though, ridiculous as it is. Maybe its the ridiculousness that appeals. 

Kashmir

Crop circles are probably better connected with The KLF. I'm sure Redbone in The Perfect Golden Circle would be a KLF fan. Kylie Said To Jason came out in July 1989, at the height of crop circle mania

Kylie Said To Jason (Full Length Version)



Friday 1 July 2022

Head Full Of Steam

This is one of those 'just because' posts, no real reason for posting it other than it's a great song by a band who seem destined to remain a cult concern but who had the songs if not the temperament to be massive. The Go- Betweens, formed by Robert Forster and Grant McLennan in Brisbane in 1977, made six albums between 1981 and 1988, all of which are worthy of your time and money. They reformed and made three more in the early 2000s but were brought to a halt by the premature and tragic death of Grant McLennan in 2006. During the 80s they moved to London and signed to various labels (Rough Trade, Sire and Beggars Banquet), expanded their line up and sound and in 1986 recorded what drummer Lindy Morrison says is their best, Liberty Belle And The Black Diamond Express. Every song on it could be a single- jangly guitars, clear production, melodies and poetic, personal lyrics by Grant and Robert. This song, Head Full of Steam, was a single, remixed slightly for radio ,with friend Tracey Thorn on backing vocals and a new middle eight. Lyrically, like many of their songs, it's about lost or unrequited love, 'I don't mind/ To chase her/ A fool's dream/ I'm 104 degrees/ With a head full of stream'. 

Head Full Of Steam

Was it a hit? No, it wasn't. Sometimes it just doesn't happen. It's not that they didn't have the songs but maybe they were just too something to reach a bigger audience- quirky isn't the right word nor is awkward but something stopped them crossing over. Maybe the mid 80s only had room for a certain number of literate alternative/ indie guitar bands and The Go- Betweens fell outside the number who made the cut. Whatever, the songs and the albums remain. Here they are on Whistle Test in '86 promoting it in an empty BBC studio, showing exactly what a great band they were. 

Sunday 27 February 2022

Thirty Seven Minutes Of Massive Attack

This week's Sunday half hour mix comes from Bristol courtesy of Massive Attack. It's difficult now to remember exactly the impact Massive Attack had back in 1991 when Blue Lines was released, instantly switching on the heads of people to the reggae/ dub/ hip hop (soon to be trip hop) sound. Ravers, house heads, indie kids, almost everyone, was suddenly listening to something else. They went on to make some stunning songs and records after that but maybe with slightly less of 'the shock of the new' that they had in spring '91 (a time when they also dropped the word Attack from their name due to the bombing of Iraq by the US led coalition). Protection and Mezzanine both had outstanding songs and moments (plus the various remixes and versions, not least Mad Professor's dub of the whole Protection album). After that my interest came and went and I've dipped in and out (dipping back in for the remixes from Heligoland and 2016's Ritual Spirit EP. 

The thirty seven minute mix below tries to avoid the obvious mixes even if it goes for some of the big hitter songs and has a dub vein running through it, ideal for making your Sunday breakfast too. I realised putting it together that it could be three times the length without any drop off in terms of quality. It takes in vocals from Horace Andy, Tracey Thorn, Liz Fraser and Hope Sandoval, remixes by Brian Eno, Mad Professor, Larry Heard and Gui Boratto and has the combined talents of Smith And Mighty, Johnny Dollar and Nellee Hooper at the producer's desk. 

Thirty Seven Minutes Of Massive Attack

  • Hymn Of The Big Wheel (Nellee Hooper Mix)
  • Protection (The Eno Mix)
  • Safe From Harm (Instrumental Original Mix)
  • Teardrop (Mad Professor Mazaruni Mix)
  • Any Love (Larry Heard Remix)
  • Paradise Circus (Gui Boratto Remix)

Saturday 3 November 2018

Sister Dubbed


I was making a cd of remixes from this calendar year by Andrew Weatherall to listen to in the car and scrolled back through my posts from this year tagged Andrew Weatherall to check I hadn't missed any. There are plenty of memorable ones, remixes of Field Of Dream, Marius Circus, Craig Bratley, the roof raising one of Confidence Man, two super smart versions of a Noel Gallagher song, the recent jerky, punk funk audiobooks one and the weird dubbed out Eyes Of Others one. But I found that I'd forgotten that at the start of the year he provided two remixes of Sister, a standout song from Tracey Thorn's album Record that featured the talents of Tracey, Corinne Bailey Rae and Stella and Jenny Lee from Warpaint. The dub mix posted here is very chilled, spacey and right up my alley.

Sister (Andrew Weatherall Dub)


Saturday 17 February 2018

Sister


Tracey Thorn's new single Sister,  described by TT herself as 'an eight minute feminist groove anthem' with vocals from Corinne Bailey Rae and drums and bass from Stella and Jenny Lee from Warpaint, is out now. As the player below shows there are also two remixes from Andrew Weatherall, both long and spacey. The dub mix is particularly intense.



While we're here Tracey's vocal for Massive Attack's Protection is right up there. All the mixes and versions are among the best things Tracey and Massive Attack ever did. This version, the Eno mix, from the 12" single is nine minutes of ambience, warmth and protection.

Protection (The Eno Mix) 

Friday 1 August 2014

Pop A Cap In Yo Ass


Tracey Thorn's autobiography Bedsit Disco Queen is turning out to be a surprisingly good read. I've never been a huge fan of Everything But The Girl but they've always been there, on the outer fringes of my musical radar. Her story is well written, self deprecating, honest and full of the politics and passions that came out of punk and produced such a wide variety of post-punk bands. Even without a detailed knowledge of EBTG or The Marine Girls, it's an engaging book and she comes across as a real person who ended up making records and being in a band. Interestingly, having also read Viv Albertine's book recently, womens' stories of life in the music industry have a very different tone from many of the mens'- more circumspect and less bullish, more about the process and personal politics of being creative in daily situations with other people. She writes about the contradictions of being in a group sometimes viewed as sappy or sissy, playing weedy jazz influenced music (which they saw as modern and progressive) while also coming across in interviews as spikey, defensive and having very strongly held indie/punk beliefs.

This was an EBTG single from the mid 80s with Johnny Marr playing popping up on harmonica.



Ben Watt, partner in both senses, had a dance music career in the 90s and his label Buzzin' Fly put out several fine compilation cds. I remembered this song, which I bought on 12", where over Ben's Chicago deep house grooves Estelle puts in a spoken word vocal about shoplifiting and growing up on violent streets. Really good.

Pop A Cap In Yo Ass

Sunday 7 February 2010

Massive Attack vs Mad Professor 'Radiation Ruling The Nation' (Protection)


I've been listening to quite a bit of dub recently. Some of the proper Jamaican variety but also the post-punk and 90s dance variety. There was an Ashley Beedle mix for Beats In Space floating around just before Christmas, with this track on it. It also had a dub of The Pogues on it. Dub-Irish folk-punk. The whole Massive Attack vs Mad Professor lp is good, one of those cases where buying two versions of one album made sense. Adrian Sherwood did a similar job for Primal Scream on the Vanishing Point album. This is the lead track off the No Protection album- the dub version of Protection featuring Tracey Thorn. Nearly nine minutes of echo, bass, snares, sound effects and Tracey's vocal chopped to bits. It gets into a serious groove about five minutes in. Top track.

Radiation Ruling The nation (No Protection).wma