I’ve been so busy with something top secretish that I’ve still no craft/makes news at all to share. I did pop over to Goldhawk road last week while in Shepherd’s Bush but wasn’t overly impressed with the range of fabric there. Maybe I just wasn’t in the mood and was conscious of the 4 year I was dragging around. Anyway I bought a meter of beautiful Liberty fabric for £13 a meter. I didn’t barter (I’m crap at that kind of thing).Were they were expecting me too or not I don’t know. It was only for a meter.
This week I have revisited some old favourite albums and one of them not so old to me. All classics and the first two especially deserve more attention.
Redd Kross- thrid eye 1990
There I was a 16-year-old girl and listening exclusively to grunge, garage, shoegazer, indie and the beginnings of riot grrrl music. Then I found Redd Kross.
I had been listening to a lot of jangly guitar acts at the same time such as The Clouds, The Hummingbirds and the like, but Redd Kross were different, they were like power pop mixed with Kiss. My impressionable young self saw them at in store performance at the old Virgin Megastore in Melbourne and I was hooked. It was ok to like pop music again and to hell with what anyone thought. (I have it all filmed on super 8, I should get my sister to dig it out of the “archives”- code word for my fathers cupboard of expired technology should be next to the Betamax).
This was during the release of Phaseshifter and that is another brilliant album, but it was Third Eye that came up on my iPod a couple of days ago. It’s a bit of heavy rock here (Annie’s Gone), a super charge of pop there (Bubblegum Factory, Faith Healer), some psychedelia (Love is not Love) and some lighthearted country pop rock on the side (I don’t know how to be your friend). Imagine Partridge Family meets Black Sabbath.
It all works so well together, the eclectic mix stops it from ever being boring.
Highlight tracks Annie’s Gone and the magnificent I don’t know how to be your friend.
PISCES, AQUARIUS,CAPRICORN & JONES LTD. 1967
I came to the Monkees in my early 20’s. I think they have been cast off as a novel cheap fake American version of the Beatles. Which is really unfair. If I had been writing this blog 10 years ago I would have been waxing lyrical about the genius of Michael Nesmith’s country albums. Which are still brilliant having spent an hour listening again to them last night.
By the time Pisces, Aquarius, Capricorn and Jones came out it was 1967 the Monkees were rebelling. Music was changing around them and they wanted to be taken seriously. They wanted to play their own instruments ( only one (Nesmith) of them was originally a musician the others were actors although Davy Jones had also released an album). They were teen sensations and this was breakout , even today for any manufactured boy band which they were.
The songs are of the time, big 60’s compositions with layers of instrumental pieces, you can hear the Beatles and Beach Boy influences. They are classic pop songs, beautifully constructed and an LP I love putting on in the afternoon and forget the world is outside.
This album was along with the Doors Strange Days one of the first to use a Moog synthesizer on their recording. Use that in your next pub quiz!
Highlights of this gem Words, What am I doing hanging round and Don’t call on me.
I’ve been watching their tv show on You Tube (love the 60’s kitsch of it) and in the first episode Davy Jones who must have been 21 and is dating a 15-year-old girl. Bit creepy. No one thinks this is weird…(oh it was ok back then)
The Monkees…well half of The Monkees (Mickey Dolenz & Peter Tork) are playing at the Hammersmith Apollo on September 4th if anyone wanted to know.
MOODY BLUES- DAYS OF FUTURE PASSED 1967
Local record fairs are pretty shit round here and I hardly pick up anything much when I go now. But I did get this for about £1.00. I loved the cover , it had Nights in white satin on it and I really like Justin Hayward’s album 1975’s Bluejays. It was worth my shiny gold coin and I’m so freaking glad.
The Moody Blues were asked by their record label in September 1967 to record an adaptation of Antonín Dvořák‘s Symphony No. 9 as a stereo demonstration record. Instead, the band chose to record an orchestral song cycle about a typical working day (thanks wiki)…This may or may not be true but it gives a bit of background anyway.
In the end we have a concept album about a day in the life of the common man, a classical psychedelic masterpiece.
Opening notes sound like the start of a Star Trek soundtrack. goes into an instrumental version of the magnificent “Nights in white satin”. Whereas “Lunch break” sounds exactly like it should be in a Billy Wilder film accompanied bright fast shots of people around New York in the 60’s in Technicolor. I suppose that’s the whole point. The track “Afternoon” next to Nights is probably the other highlight on this album (which is hard to pick out in a concept album that flows so easily as this one does.) at a whopping 8.24 minutes long it has so many different elements to it.
I used to hear Nights on the radio all time on the oldies station growing up so it’s one of those songs I took for granted because it was always there. Because of this I never really listened to it . When you forget what you know, stick headphones on it is a thing of great beauty.
Lots of this reminds me of Matt Berry’s musical work, I wonder how much influence they have had on him. In fact this is most likely the beginning of prog rock right here (but don’t let that put you off).
The Moody Blues are still playing live too.
While I have been writing this, I’ve been distracted and just sitting on the sofa listening to songs I havent heard for years and years (like an old person). I can’t remember the last time I was had headphones on and no sewing in my hand just absorbed in the music. I don’t know why I ‘ve left it so long.
I’m starting to wonder should I possbly have two seperate blogs? I will get back around to the sewing stuff when I get the chance..or some more up to date music …so little time, so little time.