Tag Archives: album

Richard Dawson – 2020 – Review


a3287790004_10So Richard Dawson is on Weird Records, but he’s like Weird isn’t he, a bit weird, slightly odd, a touch touched? My Mum says he needs to learn how to tune his guitar, my friends think I need to listen to something, or someone else, … but me, me I think he’s a bit special. You know… Sue’s in the Kitchen cooking tea now, so I better turn it down a bit.. she’s from Sheffield and the Ex was from Widnes so rather mistakenly I feel I understand Northerners. Dawson is from Oop North with it’s grey lid and it’s sideways rains and rustic vistas… Fuck me side three starts up like ‘Won’t Get Fooled Again’ by The Who, this Northern Folk Soul Mod has got me.. on the run, mentally I won’t be the same again.

I love how he writes it as he sees it and sings it as he writes it, that’s very refreshing. I like what he sees too, the mundane daily business of seeking a spiritual existence in the Crab Nebula of daily grinding shite and in the vernacular of the unspectacular. The Hogarth, an empty bottle rolling windily on a street’s cobbled gutter, the glowing prism of coal light below the UFO in Black Triangle. He points at it in his lyrics, no judgement, but the music says otherwise, otherwise you wouldn’t get the soft cymbal in Freshers Ball. An obvious love song, to someone, whose Bobbie? Doesn’t matter, it’s probably made up anyway. Could be, who knows. Don’t know him, never been to a gig.

Slack Guitar nurses along, lifted by modern sounds of synth, and there are moments I’m thinking, ‘was he listening to the same Heavy Metal as me in the 80s and 90s’? Was he? I’m scratching about for easy categorising scabbings, exploring the slag heaps of a grim NORTH, so ‘File in Pop’, lifting up genre defining funguses to see if Dawson lingers below, eyes gleaming, taking the piss, launching out spores of musical diffusion, confusion and originality. He is is he?

 

The sleeves of this dbl Lp have lyrics on, that’s good. Some insight.

 

There’s a lot of shit talked about this guy and his music, so just listen and take from it what you take, I guarantee that it won’t be like anything you’ve ever taken from anyone before, and jee suss, that makes it worthwhile don’t it?

 

Just an impression.

 

Listen to it.

MCM202004022020

 

Pachyman – Pachyman In Dub – A Review


Pachyman In Dub – Permanent Records – PERM 062

a3605236939_10Pachyman In Dub, released this year (2019) is an homage to all that was great about 1970s Dub Reggae.

Pachyman, an obvious enthusiast for Roots Rockers Reggae and the sonic qualities of that genre, delivers into ’nuff skanking ear worms deep and heavyweight  baselines, like Robbie Shakespeare in his own Barbell label days, with the accompanying phasing and echo effects of Dub Master King Tubby straight outta Drummilie Avenue and some oh so tasteful keyboards over the top in the style of Winston Wright or Bernard ‘Touter’ Harvey. You can hear the influence of producers like Bunny Lee and Lee Perry and the mixing touch of engineers like Errol Thompson and the then Prince Jammy. pachyman.bandcamp.com

His lines are choice, and he’s listened and absorbed, you can tell he has a great ear and he has heard what you have heard, and he has heard the word and that word is DUB. He plays everything and very musically indeed.

Each tune is a little ‘Dub’ gemstone, shining brightly on it’s own, and what I enjoyed was that he has treated each ‘Dub’ as a stand-alone production in their own right, i.e., unlike their 70s counterparts, they are not the re-cycled versions of vocal or instrumental original songs, they are stand alone tunes in their own right and his love for the genre rings true all the stronger for this treatment. They are each a little Dub imagining. I’m hoping we may hear a Deejay version of this Lp, or even that he retrospectively gets some singers and players to produce one away originals on the rhythms he’s created, because those rhythms are strong.

It suffers a little from the outboard he’s used to create it, as the sound at times can seem a little flat and the audio field isn’t as wide as you might want to enjoy, but something about the bottom end and mid range sound, the lack of a truly clean and crisp top end and the flat Mono nature of the mix down gives it more of an original feel. It sounds like an Lp produced, perhaps not at a leading studio of the time like Channel One, but perhaps somewhere where they hadn’t quite got the sound totally sussed yet, working on a smaller budget, possibly making it all the more accurate and retrospectively correct, .. has he gone to the ultimate degree to produce a truly ‘retro’ sound? Probably not, but it’s fun to play with the idea that the concept might just go this deep.

I only found out about this Lp a number of mere months after it was released by Permanent Records in the USA, and with no European distribution and already SOLD OUT but the time I knew of it I was left to hunt down a test pressing, pay through the nose for it and then pay the import tax when it came into the country, making it considerably more expensive than many rare Lps of original material I have sourced through the years. But, I believe it’s worth it, which says a lot I think for the quality of the music and the ear of it’s creator.

Check out ‘Jumpy’, my favourite tune of the Lp, but they’re all good. I suggest your roll up on a copy.. soon.

 

Bigmikey02112019

 

Daniel Romano – Finally Free – An Album Review


Daniel Romano – Finally Free – New West Records NW5255 – Released 2018

IMG_4102I’m going to be totally honest here, and brutally frank. I don’t know what the fuck this Lp is ‘really‘ about. That fact, in combination with my assertion that it is a work of beauty and genius has got me seriously fucked up and confused, I don’t get that way often. I like it though when I do. I like it when I can’t tuck something into a pigeonhole, when it tells me to get my listening ears on properly. I like it when it is music so obviously and adventurously wonderful. But when records are just pretentiously impenetrable, I lean quickly to placing them into the category ‘shite’ to be ignored, and money recently wasted.

I don’t normally have a hard time working out what an artist is trying to do, writing about, saying, who they sound like or where their influences lay, but that’s not the case with Finally Free. Daniel might feel finally freed by this Lp as if it were some cathartic exercise in musical self assertion, but it’s got me quite possibly ‘finally stumped’ in working out what’s going on with it.

But that’s a GOOD thing. I’m bored with knowing what the hell I’m hearing. In my dotage I need something I’ve not ever heard the like of before too keep my interest. To make me want to review it for instance, in a blog.

Just who the hell is Daniel Romano?

R-7294448-1438207251-8959.jpegI first ‘discovered’ my version of Daniel Romano, isolated and without musical guidance, while trawling YouTube for Alt Country songs, and found a wonderful song, that appears with an alternative title, feel and mix on his Lp. ‘If I’ve Only One Time Askin” but is on YouTube called ‘More Love From A Stranger’. I was immediately struck by his songwriting, playful attitude to wearing revival Nudie style suits with a big hat, and his obvious and only slightly submerged obsession with Hank Williams Jnr. The song was strong. Sounded like a man headed for romantic oblivion at the bottom of a bottle, and had me hooked. Shortly thereafter I bought the frankly disappointing cd album ‘Come Cry With Me’ on import. The songs were nowhere near as strong as his YouTube appearance and I put any further exploration of his music aside for a while.


Then recently while at a record store in Brighton England I took a punt on what is a recent but not latest release by him, Finally Free, the record I’m here to try and review. I bought it partly because Romano’s stuff just doesn’t appear in the UK without a pricey import tariff generally. It’s hard to find, and expensive when you do. The point I’m making is that my experience of his music was not explained or taught by anyone, he’s a rare thing for me a discovery I made. His music is a place I found, not one I was shown to, or recommended. I don’t know his story, I’m in a dark room and it’s as if he keeps his history close to his chest, there isn’t a lot out there about who is, or has been. I think he likes it that way, I think he likes to play with his perceived image. Do you Daniel? Is that what it’s about for you?

IMG_4695I took Finally Free home, listened, loved it, listened again, loved it more, couldn’t get the lyrics at all, found them impenetrable. Were they pretentious as fuck, or heartfelt? Then listened to the Lp over two months lots of times, loving it. But not getting any closer to the centre of it.

I had questions to answer.

The artwork by Daniel on the Lp sleeve and on the reverse of the frankly ugly poster included was it naïve, or just shitty? Was the assertion on the outer sleeve notes that the Lp was mastered on the stolen land of the Haudenosaunee, Anishinabek and Huron-Wendat, but produced and mixed on the stolen land of the Haudenosaunee and Anishinabek just so much pretentious waffle or meant from the heart?

I remain confused and as yet unconvinced of just what he’s trying to do. That’s a good thing, I feel wrong-footed, confused, but loving the sound, the sound, the music, the music which carries all doubt straight through to the second side’s run out groove.

Don’t fuck me around Dan!

Is he just fucking with us, one minute he’s a finger picking singer songwriter (I’m here citing early YouTube videos of his performances), then he’s rhinestone cowboy, a hard drinking’ country star, then he’s alt something, love poet, romantic bard and fine artist who states that the Lp is ‘A Collection Of Poems In The Language Of Love’, and whom refers on the rear of the sleeve to his penmanship on it as ‘Notes From The Author’. Is he playing with us again, this time trying to impart on himself and perhaps the Lp project the perception of a literary milieu.

He's Canadian you know . . .
The first Lp I bought (and not the one I’m reviewing), the disappointing ‘Come Cry With Me’.

The cover, an area previously explored as a thing of artistic potential by Daniel Romano is left filled by ugliness, an ugly 3d photo, and two of the nastiest colours you could pick for anything, even a death warrant, and yet the innards, the guts of the Lp, the music, the production, arrangement, mix of musical happenstance and composition are deftly combined to produce a thing of utter transcendence. Some of the chord progressions are just wondrous, and not one song feels copied, hackneyed or unoriginal.

To all intents it looks like an Lp where the artist is trying way too hard to be noticed, way too hard to impress, to be original, not to quote and re-quote other musical styles and other artists, and yet he manages to do exactly that, to be beautifully original and to prevent the listener being able to catalogue his sound and style. I have my own opinions of course of where some of the sounds hail from, you will have your own when you listen to it (and I hope you do). I can hear strong hints of The Incredible String Band then The Beach Boys, The Byrds (back in 8 Mile High days), Crosby, Stills and Nash, Bob Dylan, Earth Opera, The Velvet Underground, Rocky Horror style Rock Opera shenanigans, Nick Drake, and the sonic 60s excesses of an LSD fuelled musical decade. Like all great music it sounds like you’ve heard it before, but you know you haven’t.

Unlike those Lps of old that used to say in little text long the top edge of the sleeve –  ‘File Under ‘Rock N’ Roll’, you won’t get any such advice from Mr. Romano. It’s going to have to go in a section all of it’s own. ‘Finally Free from category’.

Get it.

© Murphy Feb 2019 ⤄

 

 

 

 

Los Apartamentos – Water Di Garden


Los Apartamentos’ debut Lp – Water Di Garden – Due out April 2019

If you know Mento, you’ll know Count Lasher’s track for Stanley Motta, ‘Water The Garden’, all about a young man who is unhappily exposed, and haffi ‘Reel Out The Hose’ while watering his lady boss’s jardin, and hopefully not a Jardin Publique as I&I French would a say, or things could have got illegal, yah get mi Fam?

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So while mooching about the Mento driven corners of the internet one ‘Winston’ of Mento band Los Apartamentos and I got in touch with one another. I had immediately responded favourably to the tongue in cheek band name, as I’ve always wanted to have a Pan Pipe group called ‘Los Pastillas Urinarios’ (the toilet blocks, you know those rancid chunks of pineapple in the urinals, uh huh .. yep that.. ), and I think Winston could spot a fellow lover of Jamaican Mento music too, as did I.

These boys look interesting I muttered to myself while flicking through Instagram. Winston by then had also hooked up with my radio show bigmikeydread reggae radio, and he showed an obvious love for the Mento I was playing on it, educating me about Calypso in Germany, where the band hails from and which has a long history of interest in Calypso and Mento; as do one or two other northern European countries like the Netherlands and Belgium.

Then a short while ago he posted a video of a tourist postcard which played Mento, one of those old records on cardboard affairs. It took me a while to realise it wasn’t a 50s-60s antique collector’s item, but his band’s promotional item, for an Lp entitled ‘Water Di Garden’ due out on April 19th on Jump Up Records. www.jumpuprecords.com

I expressed an interest and today his ‘promo pack’ landed, the postcard went straight on my turntable, and you can view a video of it spinning below. I do apologise that the sound on my short video is woeful, but it’s such a nice object, I had to show you all.

Lost Apartamentos
German Mento band Los Apartamentos are busy playing Mento, the lost music of Jamaica

Basically the guys came together out of a love of Ska and Jamaican music in the city of Cologne, trading old instruments for new ones, they built a bass lammelophone (Rhumba Box) and off they went. Spreading the music and the joy for a few years before being invited to record an album by Chuck Wren of Jump Up Records.

Rather wonderfully they recorded to one Mic, just as the producers of early Mento had during the balmy night time recording sessions of noisy 1950s Kingston, and that Lp of one take renderings of vintage Mento songs is released in April of 2019. I’ll definitely be checking it out, the small excerpt on the postcard promo sounds pukka, and that’s pukka to the ears of a highly over-critical lover of Mento who would tell you in a trice if it sounded a mockery in any sense.. it doesn’t, it sounds sweet.

Check back here for a review hopefully later this year. I’ll be getting hold of a copy for sure.

©2019 Murphy ☜

Shit Lp Covers No3


Shit Lp Covers No2


Shit Lp Covers No1


Michael Cullen Murphy – Singer Songwriter


An introduction of sorts..

So, birth is a pretty good place to start and the place where I was born, Nashville Tenn. a good place to start songwriting.

I was born to a musically inclined father who had left England in the early 60s to pursue a love of American traditional music. He settled in Nashville’s burbs and had two children with an Alabamian Southern Belle. As a family we mixed with interesting people and I can recall Bill Keith (Bill Monroe and his Bluegrass Boys) and Jim Rooney turning up at our front door when they were on a black and white T.V. we were watching at exactly the same time. That’s when I realised something interesting was going on. It continued to… and there is standard 8 Kodachrome footage of me playing harp (at 3) with Peter Rowan a family friend to prove it. You get the picture.

Anyway, that was then and this is now.

FullSizeRender 5We moved to the UK in ’76, I was almost 10. At about 14 I bought an electric guitar, played it without an amp for a year, finally afforded the amp and then annoyed the shit out of everyone with it, (the Police even came around with complaints), and I continue to, sort of.
It worked like this, as soon as I had the guitar I had a mic, and a knackered old NAD tape deck with a mic input and I started recording my ‘song-writing’ talents. In the 36 years since I assure you, I have improved somewhat. Well a bit.

Actually, this is still then.. I’ll get to now, in a bit.

R-9211750-1476735281-3058.jpegI formed the band the Purple Frisbees in the late 80s / early 90s with brother Chris and friend Harv Malthouse and wrote the songs, stamped my foot petulantly at rehearsals and over time developed a band that unknown to me had a reputation hundreds of miles further out than we ever played. We released a tape cassette and cd of awful music, that Des Day recorded and people loved and still love to this day. Then I folded the band. Then I wrote songs and recorded instrumental music in a small home studio. Released 3 or 4 playful albums only to local support and friends, all the time working, all the time being the best songwriter in the world, but only really, truth be told, in my own head and own bedroom. Then I got married, then I didn’t do that sort of thing anymore. Then my Dad passed away and the marriage broke down. Then I had something to write about again.

Then is now Now.

So, I started again, writing because I had to, needed to, really trying to write, working on it, trying as hard as I could, or working on it as time allowed, to put something down that was a step above what I had put together before, .. you know and people had always said I was good, you know, admired the band, been complimentary, you get the picture.

IMG_4555

I like to think my music is personal and original, but I do have particular (and peculiar)  influences that affect the way I write and play and record, Nick Drake, Roy Harper, Fairport Convention, Karen Dalton, Daniel Romano, Bonnie Prince Billy, John Martyn, The Band, Goffin and King, Leiber and Stoller, Sandy Denny, The Handsome Family, Gothic Americana, Folk Horror, murder ballads, early flat picking styles, Folk Psych, Rockabilly, Leadbelly, George Jones, Ron Sexsmith, Lightnin’ Hopkins, Percy Sledge, Big Joe Turner, there is a long list. It’s my opinion that if you don’t listen to lots of music, you probably aren’t going to write very well, you’ve got to love others, and their music.

But . . .  Seriously.

The moment I took it seriously was when family friend Gabe Kelly had a London dateIMG_4557 cancelled on his UK tour and came to visit my Mum, I was staying there after the messy divorce and played him rough demos of the tunes I’d been toying with, he told me to write, ‘get on with your writing’, ‘you can write’; and when a songwriter who makes his living from doing that tells you to take your work seriously, . .  you do.

Martin-Simpson-by-Elly-Lucas-sml_web-billboard-2000x1125Then . .

Martin Simpson the Folk singer songwriter and world renowned acoustic and slide guitarist came to stay overnight while on a local tour. He and his tour manager Terry almost always did when they were in the area, even after my Dad, who made Banjos for Martin, died, he has kept in touch with my Mum, which is so lovely. I was there still leeching off of my lovely Mother after parting from family ways.

I was downstairs the morning after Martin’s gig with my son, playing around on my guitar. I heard Martin stirring, footsteps on the creaking stairs, I was playing a tune I’d written, shit I thought, fucking Martin Simpson is listening to me play one of my songs. (And I didn’t know at the time he’d won loads of, including BBC R2 songwriter of the year,(twice!) awards and even teaches songwriting at residential courses). So, it’s like this. I can tell that now he’s standing right behind me, I stumble to some sort of embarrassed finish and Martin says ‘That’s a fucking hit song’ and asked for the lyrics. We talked, and he too said, ‘write!, write!, you’re good’; and when a second songwriter who makes his living from doing that tells you to take your work seriously, . .  you do. And you get writing.

Later I played my songs to one of my musical friends of long ago, Sadie Jemmett who also makes her way through life via musical steam.. and she said, ‘you were always good, I don’t say this often to many people, but your songs are really good’. That’s good enough for me. It’s all well and good your Mum and Granny telling you you’re good lookin’ (or that your songs are good) but a stranger, or a professional, well that’s Encouragement Gold my friends, ‘Encouragement Gold’.

So I write and continue to. Actually, know what, I always have, and always will, whether it’s a mic plugged into some shitty NAD tape deck or the multitrack in the box productions I’m into now, where other people are getting involved with the project.

And now recording has improved over the NAD tape deck or Tascam Portastudio.

IMG_4554So, I’ve always loved recording and production almost as much as I love the song-writing, and so a few years ago with some extra ££s I bought the iMac I’d always wanted and the ‘in the box’ software I needed, the best A to D conversion I could, some monitors, and Neumann mics (a recording can never get better than it’s microphones). I’ve been recording what is at the moment, nothing more than a vanity project, I’ve got loads of possible names for the Lp (and yes it will be issued on vinyl), you’ll have to wait and see what I call it. I get no time at all to do it, struggle against all odds to get as far as I have, and I still seem to be writing songs for it. I have to create, leave something significant behind me, share my thoughts on what it is to exist on this spinning rock with you all.

The quality of production I have created is quite amazing given that all of it is created in my little living room, and the advice of people like friend and Soundman Des Day has been invaluable over all the long years of doing this.

IMG_4556While I’m working on it I publish the demos, ideas, and songs that are works in progress in shitty MP3 format via Reverbnation, an artist platform, and the links to that stuff are below. Don’t judge the final product, these are just the sketches. Please check them and the YouTube videos out. Christ only knows when I’ll finish the project, so much to do on it, I’m 50 fucking 2 and there isn’t that much time left for this sort of thing, but you know, and I am my harshest critic, there are one or two really good songs on this thing, this Lp. This thing to come, in process, like life, is yet to come. (P.s. there more stuff below this pinned post)

I hope you are there to hear it.

And when it’s finished I hope you like it.

Murphy © 2019

 

 

Bright Phoebus – Songs by Lal and Mike Waterson – A review


R-2047800-1260722169.jpegIt seems odd to review an L.p. first released in 1972, but hey, this is new to me, so it may be new to you too. Or you may have been trying to decide to get it or not since 1972 and this just might make up your mind.

I first ran into Lal and Mike Waterson’s own song writing and output as a result of listening to the Anne Briggs’s ‘classic’ L.p. ‘The Time Has Come’, which features a recorded version of ‘Fine Horseman’ by Lal Waterson. ‘Fine Horseman’ is a sublimely poetic song populated by Hardy’esque imagery and it had me intrigued in seconds. Then, when quite by chance I happened upon a re-release of ‘Bright Phoebus’ the 1972 L.p. by Lal and Mike Waterson (and others) which contained Lal singing her own version of this, the song she had penned, I just had to pick it up.

As a brief background, Anne Briggs was sometimes known as the honorary fifth Waterson of the Watersons, a British group of folks singers mostly (during its original tenure) from the same family, one that virtually defined traditional unaccompanied folk song tradition in the folk clubs of Great Britain during the British Folk Revival of the earlier 1960s. What many now lovingly refer to the ‘Wax on me finger’, or ‘Finger in the ear’ genre of folk. (Actually that’s a lie, but they might do for all its urgent self righteousness)

thetimehascome_64612The L.p. has already seen two or three re-issues on c.d. and vinyl and was for a time an underground classic, passed between devotees on ropey self duplicated tape cassettes. This issue from 2017 sees Domino Recording Co Ltd re-issue it on REWIGLP102 in a gatefold format with a good quality booklet and sleeve notes, telling the story of Lal and Mike’s development from members of the traditional singing group into songwriters, and the story of this L.p.’s recording.

The album initially gained rave reviews in much of the music press, but simultaneously alienated stick in the mud brigades of ‘don’t you mess with our traditional music’ fans (who had lots of wax stuck on their fingers, and fingers in ears), which slowed acceptance and sales. The L.p. crept into collective memory and slept on the back shelves of old dusty record stores. However it has since become a wonderful example of musical creation and invention and of the power of musical Art to conquer ears and stupidity over time.

In my mind the album links the Watersons traditionally bound unaccompanied singing style, and that school, with the development of Folk Rock by those such as Fairport Convention. I think it little surprise that Richard Thompson, Ashley Hutchings, Dave Mattacks, Tim Hart and Maddy Prior are all helping out in various ways on ‘Bright Phoebus’, it makes perfect sense. Sticking the two together with guitar glue is Martin Carthy. Having redefined English Folk music by translating it to an instrument not traditionally used for it, he’s the all too important chain link in the album’s musical integrity I believe. Richard Thompson will I believe always be a Rock guitarist who got interested in Folk, not a Folk guitarist who has dabbled with Rock; and so it is Carthy that translates what Lal and Mike Waterson are trying to do here into something we can all ‘get’.

So I’ve alluded to some of the collective that combined to produce the music on this L.p., but what about the songs? As usual it’s such a personal thing, what a song means to any person that I am loathe to impose my opinion on you the potential listener and would much rather you shelled out your hard-earned moolah for a copy, and made your own mind up. However one thing is certain, they are dark in the main, mystery laden, intangible, phantom like songs. You expect the Hound of the Baskervilles to howl on backing vocals, you can hear the creak of the Reddle man’s wagon through the marsh mist rising from the ground as you drop the needle. The rain drizzles onto the stone Church’s boundary walls it dusts onto the heart’s tongue ferns and into the grooves of the record, hope dies, and in the morning sun, is reborn.

Folk Psych – a tasting menu.


An intro of all-sorts

The bouquet it hit me like a tonne of bricks, a tonne of sweet-smelling hay and straw bricks, made of Summer daze, lazy riverside ramblings with sylph like cheesecloth bedecked Timotei maidens; it hit me like thick hashish smoke; I envisioned the whispering of caterpillars, of heat laden grass, the shifting cool of shaded lambs under neatly tooth trimmed trees and the quiet beckoning of a hidden mystical hand, a tune came drifting amongst the tree faeries and water sprites and alighted upon mine ears… . and it was good,… and it was UK Folk Psych. I asked for the menu and it was given of freely in little pieces and I complained and was told, ‘no mate it’s only the tasting Menu’. ‘Well bring me something HEAVY’ says I, and so it came to pass, and so it was that it was done.

Psychotic to like UK Folk Psych?

Dust on The Nettles - 4CD 1967-72 Box
Girlfriend’s gift consigns me to new collecting addictions. See above.

It’s mad, I collect Reggae and Jamaican music, what the hell am I listening to ‘Psychedelic’ Folk music of the late 60s and early 70s for? Nope.. not a clue? Me either; though it may have been that while I rambled musically I started separating out a sound, a style, and began to distinguish the genre as distinct, of itself, not of this earth. Then my ever musical girlfriend bought me a decent introductory Cd compilation, ‘Dust On The Nettles’, and down the slippery slope to more record collecting I flew. I’d been searching for a female vocalist that I could actually say I really liked all my life and this too led me in the direction of this sub genre of a sub genre of a sub genre of a sub genre of a fractal like musical sub genre disappearing into the abyss of my fractured mind,…  and this too led me in the direction of this sub genre of a sub genre of a sub genre of a sub genre of a fractal like musical sub genre disappearing into the abyss of my fractured mind,…  and this too led me in the direction of this sub genre of a sub genre of a sub genre of a sub genre of a fractal like musical sub genre disappearing into the abyss of my fractured mind,…  and this too led me in the direction of this sub genre of a sub genre of a sub genre of a sub genre of a fractal like musical sub genre disappearing into the abyss of my fractured mind,…  to a place where Sandy Denny appeared each night, where Bridget St John still spoke French like a native, where Anne Briggs lived in a hole on a beach in Ireland amongst the Gorse and the Furze and cared not for ‘our’ world and wrote songs that would put us on a spaceship to the place we should have been born unto, to another planet, another beach, another life in and on a parallel dimension.

I’d always wanted to explore the Incredible Stringband’s music and they are probably the starting point most oft launch padded upon for those entering these sacred fields of discovery; and so I shall launch this little ship of fools off the cosmic slipway and onto a sea of meanderings via the ISB (as you will see below), where I outline my listening pleasures and give you, perhaps, a starting point at which to remove your denims and dive headlong into the this little mill-pond of music. Thing is the ISB weren’t really Psychedelic Folk, actually, scrub that, de-gausse that. Thing is the ISB were really Psychedelic Folk, but they aren’t representative of the genre wholly, they are too much ‘the other’, too strongly, of their own ilk, too different, too original. HOWEVER… phew! They are the starting point (and perhaps ending point) I shall start (and end?) with.

Their first Lp – ‘The Incredible String Band’

Recorded around one Mic, in a day, it’s a very good Lp, just not star on the dressing room door good, but damn, dang good, worth every penny, but, still… hmm… out of focus.

And so they recorded their first Lp, the result of happenstance meetings and gigs and a club they ran in Scotland, connections made, decisions decided upon, quickly… and then one buggered off to North Africa with his share of the proceeds (Robin Williamson), one kept on gigging (Mike Heron) and one was left by the wayside, probably because he didn’t take enough Acid to ‘fit in’, ‘tune in’ or ,.. oh no, actually.. he did ‘drop out’, or slide out, or ooze on down the line, whatever…, or he just fancied carrying on playing Parlour Banjo tunes, and frankly, that ain’t got legs mate, not for late 60s UK ‘projects’. Like all first Lps, the ideas were there, it was all in place, but they hadn’t realised it yet, when they did, all shit would break loose, crap would happen, faeces would smack the fan up. When Robin Williamson returned from North Africa clutching his fucking Gimbri he and Mike Heron hooked up, (Mike had been gigging more traditionally around the folk clubs of Greater Britain during Robin’s absence (and no I can’t even be bothered to mention the other bloke, no that would be rude, right.. Clive Palmer, Mr Victorian Banjo Gt Britain 1966) they recorded the scene changing, prop wobbling record you will see below. See it??

5000 whatnots on the layers of Huh?

R-1345732-1256851696.jpegThe 5000 Spirits or the Layers of the Onion, actually.

A veritable deep space 9 of tunes. Just look at that COVER! Overall this is my personal favourite Lp by them, though everyone goes on about Hangman’s, there are of course stand out songs on all others, but this just hangs in totality to my taste man. Like the other Lps that originally came out on Elektra, tizz goodly, tizz very goodly.

Look I can’t be bothered with this anymore, I’m not going to go through each Lp, critiquing them, these are just suggestions for listening. So go get copies and listen, make your own mind up, just like Bucks Fizz did. Then the next Lp, The Hangman’s Beautiful Daughter, and the next  Wee Tam & The Big Huge and, and and and… until they petered out signed to Island and nailed by the musical virus ‘differences of a musical and or artistic nature’. And this brings us neatly to other shit of a Psych Folk vein to check out…

other shit of a Psych Folk vein to check out…

I spent a long time thinking that this stuff was childish, fay, thinnish, and was Hippie music; that as such it was something that I should grow out of, move away from, and I did in my early 20s, only to realise recently in my late 40s, in part to the revolutionary nature of John Peel’s Dandelion label, that this music was as out there as the German feedback and noise bands Peely played on his show in the 1980s. So I became baited and hooked again. And now I’m up to my bollocks in new music, casting my fly, bobbing for apples, spearing for melodic and well-odd’ic fishes once again.

Currently Marc Brierly, Bridget St John and the less Psychedelic but equally as ‘Folk’ Anne Briggs all interest me in particular. Alongside these the more ‘Folk Rock’ John Martyn, Steelye Span and Fairport Convention all beckon, and I’ve got one more Incredible String Band Lp to get to complete the set.

There is loads out there to find, and I expect to be exploring for a while. Come with me on my trip.