The Saints – This Perfect Day (EP) (1977)

FrontCover1.jpgThe Saints are an Australian rock band originating in Brisbane in 1973. The band was founded by Chris Bailey (singer-songwriter, later guitarist), Ivor Hay (drummer), and Ed Kuepper (guitarist-songwriter). Contemporaneously with American punk rock band the Ramones, the Saints were employing the fast tempos, raucous vocals and “buzz saw” guitar that characterised early punk rock. With their debut single, “(I’m) Stranded”, in September 1976, they became the first “punk” band outside the US to release a record, ahead of better-known acts including the Sex Pistols and the Clash. They are one of the first and most influential groups of the genre. Alongside mainstay Bailey, the group has also had numerous line-ups – in early 1979, Ivor Hay and Ed Kuepper left, while Bailey continued the band, with a changing line-up. All Fools Day peaked in the Top 30 on the Australian Kent Music Report Albums Chart in April 1986. Bailey also has a solo career and had relocated to Sweden by 1994. The band was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in 2001. The Saints continue to record and perform. In 2014 Bruce Springsteen covered their song “Just Like Fire Would” on his High Hopes album. (by wikipedia)

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And here´s a very rare EP from The Saints including their single hit ”

“This Perfect Day” is a single by punk band The Saints . It was produced by Chris Bailey and Ed Kuepper and recorded and mixed at Roundhouse and Wessex Studios, London, in late 1977.

The single made #34 in the UK charts, the band’s only British Top 40 entry. The band appeared on Top of the Pops to promote the song.

Kuepper later mentioned, “I wrote it on my father’s classical guitar, on Christmas Day (1976) at my parent’s place when everybody had gone to church.”

A re-recorded version of the song later appeared on The Saints’ 1977 album Eternally Yours.

The Fall covered the song for their 1999 LP The Marshall Suite. Baby Woodrose covered the song on their 2004 album Dropout!.

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Critic Jon Savage said that the song, “speeded up the Rolling Stones “Paint It Black” riff into pure extinction. “This Perfect Day” is almost too fast: The group nearly come off the rails before singer Chris Bailey brings everything to a grinding halt in an extraordinary cluster of negatives.”He later said the song was, “the most ferocious single to ever grace the UK Top 40.”

Steve Taylor said “This Perfect Day” was, “the band’s masterpiece. A short statement of resistance – delivered over a chugging beat and inventively deployed guitar. The Guardian considered the song “quite the most startling, wound-up noise recorded under the punk banner to that point. Bailey spat out the opening lines, atop the band’s adrenalised clatter.” Mojo called it, “an ultimate expression of teenage nihilism.” (by wikipedia)

As I wrote, this EPis very rare …:

“Important Notice – Due to an administrative error, this limited 12” pressing of The Saint’s “This Perfect Day” c/w “L-I-E-S” single contains a third, additional title not available on the normal 7″ pressing. The additional title, “Do The Robot”, has consequently been withdrawn from future releases consideration and will now be available only on this 12″ pressing”.  (taken from the liner notes)

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Personnel:
Chris Bailey (vocals)
Kym Bradshaw (bass)
Ivor Hay (drums)
Ed Kuepper (guitar)

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Tracklist:
01. This Perfect Day (Bailey/Kuepper) 2.10
02. L-i-e-s (Bailey/Kuepper) 1.57
03. Do The Robot (Kuepper) 2.41

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Notice

Don’t talk to me about what you done
Ain’t nothing has changed it all goes on
And they’ll keep laughing till the end
I’ve seen them drive around in cars
All look the same get drunk in bars
And don’t talk back we got no social rights

Oh perfect day
What more to say?
Don’t need no one to tell me what I don’t already know

We got no high times always flat
If you go out you don’t come back
It’s all so funny I can’t laugh
Oh perfect day
What more to say?
Don’t need no one to tell me what I don’t already know

Don’t talk to me about what’s you done
Ain’t nothing has changed it all goes on
And they’ll keep laughing till the end
Oh perfect day
What more to say?
I don’t need no one to tell me what I don’t already know

Don’t need nothin’
Don’t need no one
I don’t need nothin’, nothin’ at all

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The Only Ones – Live At The Electric Ballroom (1980)

OLYMPUS DIGITAL CAMERAIn 1980, the Only Ones were maybe the most stoned junkie bunch of musicians in activity but on stage they were no less than magical. I can’t imagine a more intemporal music than this one. Listen to this version of “The Beast” before deciding what is genius. Catch this incredible document here. PS to iceman. The Paradiso concert was re-up recently (here) and is totally available on M.

Here we find the band 6 months after the Paradiso concert (here) but it’s a rather different band. Tensions are strong between members (some of them want to “place” their songs and begin to be unease with the position of sole composer of Peter Perrett… they were wrong actually, it was a good thing) and desillusion begins to grow (Baby’s Got A Gun album was badly produced by a producer mandatory sent by the label, it sells rather poorly, Ajouter une imageno single succeeded in the charts and drugs were beginning to eat every bit of motivation). The concert is very different from the one played at the Paradiso. Faster (they sometimes seem to call for a quick end), tighter (Peter Perrett plays much better and the band seems to behave as a whole and unique entity), it’s a dynamic set with some ups (the songs from Baby’s Got A Gun, here in their truly Only Ones versions) and some downs (some older songs, sometimes botched or with bad options, for example what the fuck is this half-reggae version of “Miles From Nowhere”?).

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This concert was captured on 2 nights at the Electric Ballroom of Camden and released in 1989 on Mau Mau label under the name of Live (I did another cover sleeve cos’ I thought the official album one, a close shot ot Peter Perrett’s face, was rather unappropriate). Note that it was wrongly suggested on the back cover sleeve to be captured at the Speakeasy in 1977. Among my interrogations, is this strange (and scandalous) fade at the end of “Why Don’t You Kill Yourself”. If someone could tell me WTF. To conclude, I would say that this concert, in spite of all its low parts, is for me the symbol of what I would have dreamed to do on stage with a band. Yes, nothing can be more close to this dream than this concert. Therefore, you understand the fixation I do about this band. (by dkandroughmix-forgottensongs.blogspot)

Ineresting to hear Mike Kellie (ex-Spooky Tooth) in this famous punk/new wave band.

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Personnel:
Mike Kellie (drums)
Alan Mair (bass)
Peter Perrett (vocals. guitar)
John Perry (guitar)

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Tracklist:
01. Trouble In The World (Perrett) 2.50
02. Programme (Perrett) 2.12
03. The Beast (Perrett) 5.46
04. The Happy Pilgrim (Perrett) 2.39
05. Lovers Of Today (Perrett) 2.56
06. Strange Mouth (Perrett) 2.18
07. Why Don’t You Kill Yourself (Perrett) 2.47
08. No Peace For The Wicked (Perrett) 2.06
09. As My Wife Says (Perrett) 3.10
10. Miles From Nowhere (Perrett) 3.41
11. The Big Sleep (Perrett) 4.36
12. Another Girl Another Planet (Perrett) 2.56
13. City Of Fun (Perrett) 3.08
14. Me And My Shadow (Perrett) 4.51

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Mike Kellie passed away on 18th January 2017.

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..

The Banshee – Your Nice Habits (2008)

FrontCover1.jpgThe Banshee fomed in Genova (Italy) in 2001, while the guys were still teenagers.
“Public Talks”, their first album, was released in Italy on Suiteside Oct. 2006, and then distributed in Nov. 2007 by Fading Ways Music in UK , Canada and Benelux.
The album got an enthusiast quote in the NME Breaking Bands column, airplay on Radio 1 and BBC6 by Steve Lamacq and Tom Robinson, two successful UK tours and Belgium gigs.
The Banshee appeal lies in their cool fucked-up attitude, in the apparently carelessness they jump in throwing the songs on stage. It’s the charm of not average indie pop-hooks people can relate easily to.
With lots of new ideas The Banshee entered Red House Studio in Senigallia (Ancona, Italy) to record their second album – titled “Your Nice Habits”, with the production of Luke Smith (ex-Clor, already producer for Shit Disco, To My Boy, Theoretical Girl, frYars). It was February 2008, then Luke Smith mixed the ten tracks in March in his London home studio.
Mastering has been done at Optimum Mastering Ltd in Bristol by Luke and Shawn Joseph.
“Your Nice Habits” shows the band at its best, with clean songwriting and memorable hooks matching groovy wave beats, electro burst and undeceived lyrics.
With an increasing amount of blogs and webzines around the world spreading the word about The Banshee, “Your Nice Habits” has been released in Italy in September ’08 and then in Europe (G/A/S – Benelux) on Fading Ways January 30, 2009 (distribution Sonic Rendez-Vous / Alive! PR gordon@tomlab), with a one month european tour following in February.
End of March ’09 the Oxford based label Shifty Disco (Young Knives, Elf Power, King of Spain..) released in the UK the “People Around DLEP”, taking The Banshee to new levels on Uk venues and on XFM, while BBC6’s Tom Robinson topped “Your Nice Habits” as “Best Album of the Year 2008”. (suiteside.wordpress.com)

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Leave it to the Italians. 2008 will, ifsuiteside.wordpress.com) nothing else go down as the year of 80s electro pop/punk/new wave revival. We’ve had the faux fourth world africanisms of Vampire Weekend, and the fizzy electronic Devo-lution of Hot Chip, but if you really want to recreate the heady rush of early Wire or XTC (when they still had Barry Andrews punching the organ) then look no further than Genova’s The Banshee. In the same way that our Mediterranean cousins keep the flame of prog burning brighter than it did in 1973, so they also manage to have produced new wave that’s more art school bonkers than it was in 1979.

You know what we mean: hi-hats rattle, jerky snares snap, synths bleep and guitars bark. The vaguely militaristic rhythms beat out a robotic two-step and it’s all you can do not to rush out and get yourself some skin tight jeans and an assymetrical barnet-job. The vaguely flanged, bleaty vocals can remind one of Gary Numan, but really, they have more to do with the (far cooler) Colin Newman (yes, there’s no trace of a Latin accent here). And there’s another reason why you should spend your hard earned paper round money on these boys – they were produced by Luke Smith of the much-missed Clor: another outfit who wouldn’t have looked out of place on the same bill as the Gang Of Four.

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While Your Nice Habits never really lets up in terms of energy, spunk and verve, it can pall a little in its relentless angularity. For lovers of art rock this won’t really be a problem, but you can’t help thinking that this makes them a tad unsexy. Still, such enthusiasm can only be applauded. They should have called it Bandierina Rosa. (Chris Jones )

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Personnel:
Fish (bass)
Jago (vocals, guitar, keyboards synthesizer)
Nico (guitar, vocals, samples)
Patrick (drums)

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Tracklist:
01. Cut Me Clear 3.15
02. Kicks Up 3.41
03. 3rd 3.30
04 Face 3.45
05. Russia 3.46
06. Electric 2.52
07. Believe The Master 3.43
08. Evening Dress 3.08
09. People Around 4.10
10. C.older 4.13

All songs written by Fish – Jago – Nico and Patrick

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Green Day – Dookie (1994)

FrontCover1Green Day couldn’t have had a blockbuster without Nirvana, but Dookie wound up being nearly as revolutionary as Nevermind, sending a wave of imitators up the charts and setting the tone for the mainstream rock of the mid-’90s. Like Nevermind, this was accidental success, the sound of a promising underground group suddenly hitting its stride just as they got their first professional, big-budget, big-label production. Really, that’s where the similarities end, since if Nirvana were indebted to the weirdness of indie rock, Green Day were straight-ahead punk revivalists through and through. They were products of the underground pop scene kept alive by such protagonists as All, yet what they really loved was the original punk, particularly such British punkers as the Jam and Buzzcocks. On their first couple records, they showed promise, but with Dookie, they delivered a record that found Billie Joe Armstrong bursting into full flower as a songwriter, spitting out melodic ravers that could have comfortable sat alongside Singles Going Steady, but infused with an ironic self-loathing popularized by Nirvana, whose clean sound on Nevermind is also emulated here. Where Nirvana had weight, Green Day are deliberately adolescent here, treating nearly everything as joke and having as much fun as snotty punkers should. They demonstrate a bit of depth with “When I Come Around,” but that just varies the pace slightly, since the key to this is their flippant, infectious attitude — something they maintain throughout the record, making Dookie a stellar piece of modern punk that many tried to emulate but nobody bettered. (by Stephen Thomas Erlewine)

GreenDayPersonnel:
Billie Joe Armstrong (guitar, vocals)
Tré Cool (drums)
Mike Dirnt (bass)
Booklet03ATracklist:
01. Burnout 2.07
02. Having A Blast 2.44
03. Chump 2.54
04. Longview 3.59
05. Welcome To Paradise 3.44
06. Pulling Teeth 2.30
07. Basket Case 3.03
08. She 2.14
09. Sassafras Roots 2.37
10. When I Come Around 2.58
11. Coming Clean 1.34
12. Emenius Sleepus 1.43
13. In The End 1.46
14.1. F.O.D. 4.08
14.2. All By Myself 1.38
(Track 14.2 is a hidden track starting 4:08 into track 14. Durations taken from a media player as they don’t appear on the release)

Music: Billie Joe Armstrong – Tré Cool – Mike Dirnt
Lyrics: Billie Joe Armstrong + Mike Dirnt (on 12.)

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