Possibly the finest early eighties band never to have a chart single and they split up before having any real success. According to wonderous singer Judy : "...When the first single ”Getting Nowhere Fast° became NME single of the week, the group ‘Girls At Our Best!” didn’t exist as such. Jez (James Allen) & I were determined to get our 2 songs on vinyl with a view to seeing what if anything happened next. Well something did happen & another record was clamoured for which meant we had to write 2 more songs & find someone to help us record them. This was the time when Gerard Swift & Carl Harper joined us; but there was no serious intention of playing live until much later. The music & the lyrics we wrote, the strategy we used, the image we tried to create was definitely intended to be a serious force in popular music, but we disguised it so as not to appear pretentious, intellectual or musically serious. I suppose that with most bands that break up, the reasons are both incredibly simple & boringly complicated. There was a series of events which I think inevitably led to the band splitting up. We went to America, as just mentioned, which screwed everybody up a little bit. Our record contract came to an end just after our return & we were all getting on each other’s nerves. Just at this vital point in the career of GAOB, when there should have been consolidation, vision & energy, there was a big void & we all just drifted apart. The record contract was left to rot & GAOB didn’t exist anymore...." Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the 80s – long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. All four of their singles for their own Record Records, Rough Trade and Happy Birthday Records are pure gems. The album "Pleasure" a little bit less but still memorable. Hear them playing live with their unique pre C-86 style and enjoy once again Judy's distinctive unique voice.
lunedì 25 novembre 2013
The idea of an Italian Wave as a genre remains a difficult beast to try and capture, file or contain. The music often collected under that banner is strongly associated with a sort of "total derivative" sound that looked at uk post punk bands, but it also grew by itself becoming something more interesting and complex. Nowadays, from our lofty 21st Century perspective, Italian Wave appears to mount repeated incursions into an almost unknowable number of previously well guarded genres: Synthpop, Techno, Dark, Punk, Garage etc.. United mainly by barely commodified electronics and tiny print runs of 7“s and later cassettes (although somewhat morbidly respectable by today’s sales standards). All of this decentralised music making makes an easily digestible guide all but impossible. And exactly like many of the Uk post punk bands that inspired our italian wave movement, our bands faded into domesticity and obscurity soon after their ninyl debuts. No Depeche Mode and no Cure here in Italy, just a pair of bands like litfiba & Diaframma that were arguably the most successful, carving out a career that’s now spanned (amazingly) four decades. but we're more interested in the ones that couldn't survived the passing of time. This is a simple "homage" to them through a compilation of updated sounds from those "now reformed" heroes of italian wave... a little adventure in the music from a far decade which we don't want to become another forgotten story.
venerdì 11 ottobre 2013
Whichever way you look at them, in the "decade that counts", Cocteau Twins has gradually acquired a mythical prestige that transcends both their original ambitions and the music’s own guileless outlook. One of the early practitioners in Shoegazing territories, the Twins came very much to be synonymous with the 80s and the Atmospheric turn the decade took in music. Not a common dreampop combo but a band that came from post punk and finally reached a mainstream enduring success with the music they played for years. And it wasn't just another r'n'roll swindle and I'm not talking about Enya or Enigma, although someone used to compare them to those kind of plastic popstars. I've alway preferred looking at their music as an evolution of the Banshees style mixed with a sort of Krautrock feeling. Anyway, embracing a kind of selfmade minimalism in their music, Cocteau Twins and the ethereal vocals of Elizabeth Fraser soon ended to create a style. Their influence was felt in several other bands for years and the volume of the Twins' related traffic on the Internet alone is testament to how profoundly was (and is) their influence on contemporary music. History says that they also split with sorrow and tears and this is why within weeks of the announcement of a 2005 Coachella reunion, Lizzie sadly announced she wouldn't take part cause she still could no longer face working with Robin. This probably means no future for them but a magic past to rediscover once again...
Pubblicato da ap comunicazione a 04:34
lunedì 16 settembre 2013
venerdì 2 agosto 2013
"Island had dropped us, and I was planning to leave because I thought synthesizers were going to change music in the same way that the electric guitar did. Then we were offered a tour of America by Miles Copeland and his brother [Ian] - there was a big audience for British new wave acts at that time. We flew over on the cheap with Laker Airlines and, as there were no luggage restrictions, took all of our instruments and our backline amps. When we got off the plane Miles's brother was waiting for us with a van and we did six weeks with one day off. People like the artist Jean Michel Basquiat and John Frusciante from the Chili Peppers came to see us. The tour ended in Hollywood at the Whisky A Go-Go. After the last show I just told them all that I had had enough and was leaving, that they could have the name and the band identity. Things were already tense - at the end of long tours everyone is full of adrenalin but very tired - and a minor argument broke out although I can't remember what it was about. Billy and Chris walked out of the dressing room and Warren stayed hut was really angry, although he didn't shout, as we weren't that sort of people. We left the venue in separate cars and I flew back to England on my own the next day. It was a great wrench to leave, but the grey suits were waiting. I wanted to work alone with a tape recorder, drum machine, a synthesizer and get rid of anything that was rock'n'roll. As for their later success with Midge Ure, I have nothing to say about them, as that band has nothing to do with me". (JF)
From 1976 to 1979 Ultravox were legends as Mr. Foxx was their singer and musical guide. Their immense influence in the rise of uk post punk sound is undeniable. Then came Midge and the New Romantics Years but please remember them playing with Mr.Dennis their last mythical 1979 us tour...
lunedì 15 luglio 2013
According to discogs:
On cold autumn evenings of Milan in 1981 met for the first time Nino La Loggia and Giacomo Spazio. Both were regulars of the Bar Concordia, one of the few meeting places for the post punk generation. Nino with Mark Philopat (now established writer) had given birth to the HCN, one of the pioneering punk bands of the peninsula. Giacomo instead was a performance artist, interested in graphics and was looking for a new form of painting that was innovative and provocative. When the two met sparked. The two had the same passion for music: Kraftwerk, Joy Division, DAF and the whole new scene of proto-electronic wave and together they decided to start the musical project called 2 + 2 = 5, a tribute to Orwellian dystopia. The two split the roles immediately, Nino continued to pursuit the sound to the limit of experimentation and Giacomo wrote texts. The band made their début at the "Cinema-Music Non-Stop" at the Cinema Porpora of Milan in May 1982. Shortly after entered the band Cha Cha Hagiwara, already a keyboard player in 'Jeunesse d'Ivoire', enriching the band's raw sound with sonority which we can now define analog. After several dates among Milan, Turin and Switzerland, the trio entered the studio to record their first LP titled '... Into The Future' which was to be published towards the end of the year 1983.........and that was the beginning...
Please listen again to their amazing stories... old songs/new versions, recorded in their unexpected 2010 live comeback in Milan!
lunedì 1 luglio 2013
The legendary Fleshtones formed in Queens one million years ago (was it 1976 or...) and since then they started touring and never end. Maybe this is the reason why they became the greatest garage rockers of all time. In all these years, they drew from the best parts of The Yardbirds, The Kingsmen, The Sonics, The Seeds, The 13th Floor Elevators, The Rolling Stones, The Cramps etc. They borrowed from the old and created a monster of American rock music that lived up to the haughty "Super Rock" title they gave to their sound. They intensified everything but the sound: cool, anxiety, joy, and energy. Over the years they've become a tradition unto themselves, incorporating also '50s R&B, '60s frat-rock, and '70s disco into a heady mix that can only be recognized as "their unique sound". I've seen them live no less than half a dozen times and it has always been F.U.N.! And that song too, the one I consider the "SONG" of american garage revival... yes, i'm talking about “The Dreg”, with the incredible cool fuzz bassline (Jan-Marek Pakulski), a guitar that builds to a fever pitch, soaked in reverb by Keith Streng, with tones of percussions rattling off in all directions and a cool understated vocals by Peter, singing of a person searching for the meaning behind their intuition, moving forward in life with whatever they have. What a song, what a band! As someone else recently wrote, "The Fleshtones were all garage rock without any qualms of being original; they were just better than what they started with". Not a lot more to say, in my opinion they really symbolize what still matters in rock & roll... dance again to their american beat and sing "Sha la la la" forever!!!