So we now take an excursion into early 90’s dance.
Arguably the best cover of this song, this was released in 1990 with a rap added by G Love E care of Young MC. It does have that typical 90’s drum sound and it all kinda works. A Funky riff and a modern sound, even with a few samples thrown in at the start.
The B-side is classic Frank Zappa, weird and screwed around, an insane track!
Before I go off on a bit of an old skool dance dance tangent.
From 1989 and the wonderful but not often played “Words” by Liverpool band, The Christians. Based largely on the traditional Irish folk song, Mná na hÉireann (Women of Ireland) by Sean O Riada, this had massive success in Europe, particularly in France. The production is superb with a little hint of Gaelic pipes and swooping strings, definitely a wee small hours song. Two strong B-side tracks, the jazzy, keyboard-led, “Long Gone” and the acoustic swing of “Funny Money.” showcasing those fantastic harmonies.
So what was really happening in 1990 was a lot of this stuff, psychedelic guitars and baggy beats, yup Madchester! Guy Chadwick and Terry Bickers had already had some success with “Shine On” and “Christine” and not to miss out put this nostalgic anthem, slightly remixed by Dave Bascombe from their “Butterfly” album. Some of the lyrics are a bit twee (suck the marrow out of bone?)and with the brushed drums and laidback vibe this was the sound of the London, Camberwell scene. Two B-sides, the instrumental “Love IV” with some soaring guitar work and the very dreamy almost country & western sounding, “Soft As Fire” from 1989 and a little cracker.
From 1990 and Grunge had passed me by but coming across this E.P. from Leeds quartet , The Edsel Auctioneer, makes me want to revaluate the genre. All fuzz and raw power, this is a good introduction to the band and was their second release. Comparisons with Ride, Dinosaur JR., My Bloody Valentine and The Lemonheads are all valid. Engineered by Iain Burgess from the 80’s Chicago punk scene (Big Black et al) they were championed by John Peel but never really made it big. My favourite off the E.P. is the soaring, guitar epic, “Bed Table, Chair”
From 1991 and before they went all grungey. The only single released from the much neglected album , “Extremities, Dirt & Various Repressed Emotions” album. It was released only in Germany on 3 January 1991 by the Aggressive Rockproduktionen label and see’s the band going back to the original blueprint sound with some great, chugging guitar by Geordie Walker.
” Mine, the best things in life are free
Mine, I own the beach and the blazing sunset
Mine, I own the waves and the fresh air
Mine, I drink the milk of the stars in this beautiful moment
Mine!”
Superb and poignant lyrics spat out by Coleman. The B-side is another epic , wall of guitars and keyboards and the scrapping sound, eeek ! Powerful stuff.
From 1990 and I proudly present one of my favourite albums. Brought to by the weird and wonderful TKK. An album that probably Marilyn Manson would have listened to an emulate 7 years later. Camp, black humour is the main theme here with copious use of samples. On the seminal Wax ! Trax ! label this is very long for vinyl album and rare in the fact that some of the tracks are remixes. I was just getting to industrial music at the time so this was a dizzy mix of all styles, not your straight stomp Front 242 or the distortedness of Skinny Puppy, just plain weirdness. Highlights include “A Daisy Chain…” with it’s pro-drugs message and doom bass. “The Day of Swine and Roses,” offensive and catchy, the mutant funk of “Waiting For Mommie” and the alternative dancefloor filler of “Kooler Than Jesus.” The album was polished up and rereleased, with extra tracks, on CD a few years back.
Highlights include “A Daisy Chain…” with it’s pro-drugs message and doom bass. “The Day of Swine and Roses,” offensive and catchy, the mutant funk of “Waiting For Mommie
From 1989 and some fine indie pop from Dublin’s own , The Fat Lady Sings with their 3rd single “Arclight” In the same style as Deacon Blue/ Hothouse Flowers, this piano led this features the passionate voice of Nick Kelly. A classic Irish rock/pop song. The gentle acoustica of “Behind Your Back shows depth with some nice harmonica. Their first single , “Fear and Favour” is also here, jangling away like early R.E.M.
From 1989 and a slice of fiddle and banjo tinged indie folk. I’d certainly forgotten about it as it used to get played all the time in the Student Union. Was it all about smoking weed ? Associated with the crustie/grebo movement and it was off their album “Hup”, it comes over like a country and western Beatles. The B-sides are a couple of covers. First by Chet Edwards “Get Together” which was a hit in the 60’s for PJ Proby and then Dave Clarke Five. This was dedicated “for the Festival of 89 & years to come,” being part of their Glastonbury set. John Lennon’s “Gimme Some Truth” is a bit different , borrowing the baseline from “Public Image Limited” by P.I.L. !
A bit of a change as we move into 1989 (pop pickers) The fine lads from Egremont , Cumbria, It Bites, bring you a bit of gentle prog rock. A favourite band of many musicians this rocks nicely awake with elements of Genesis/Marillion and a sing-along chorus. “Vampires” sounds very American and goes off on one halfway along.
Francis Dunnery vocalist and guitarist from the band is still out and about on the gig circuit.
A 3 track 12″ from South West London, Indie band, The Corn Dollies. A punchy , wall of guitars punctuated by some violin (?) The track was not typical of their more lighter output. The band consisted ofSteve Musham (voice/guitar), Tim Sales (guitar), and Jack Hoser (drums) and they were joined by Californian bass player Steve Ridder and Jono Podmore (violin). Fairly Obscure, they only released a couple of albums, and apparently huge in Spain. Not quite making it in the C86 scene at the time (of which more is over at the esteemed blog of Mr Villain with his nostalgia fest currently running https://thenewvinylvillain.wordpress.com/2015/04/19/next-years-nostalgia-fest-part-13-of-48/)
The B-sides have the lilting beat of “This Is Me” (very nice gotta love a bit of violin) and the jangly “People Gone” all short and to the point.
So we now take an excursion into early 90’s dance.
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