R.E.M. - Murmur

R.E.M. - Murmur (I.R.S. Records, 1983). Debut albums don't get better than this. It's thirty years old and, for me at least, the finest record the band recorded. It's well conceived, great song upon great song, flowing seamlessly from start to finish and like all the best albums it cultivates a unique atmosphere, making you feel connected to the music. Mitch Easter's glorious production highlights the elements that made the band special from the get-go... 

Peter Buck's arpeggiated guitars jangle in a fashion reminiscent of The Byrds, while Mike Mills adds great, melodic bass lines, vocal harmonies and lush piano parts - the perfect counterpoint to Bill Berry who serves each song beautifully with his measured and wonderfully presented stick work. Michael Stipe's distinctive vocal delivery is more of a murmur, as suggested by the album title, making his lyrics near impossible to decipher. It's impressionistic, mysterious and alluring. You end up with no idea of what he's on about and that's the charm, the songs still hold together perfectly. It's an album that will never stop growing on you.

I saw R.E.M. (Rapid Eye Movement, referring to the stage of sleep where dreaming occurs) perform live a number of times. The last show I took in, as they neared towards their eventual break up, disappointed me. I left early. I remember hoards of fans chatting impatiently, waiting for them to play songs like Losing My Religion and Everybody Hurts. The band seemed to have lost touch with the elements of their sound that appealed to me and in turn attracted a fan base built around their major label success, not their earlier, pioneering indie work. I guess the problem was that it seemed like artistically at least, their best days were behind them. But every time I hear Murmur I'm transported back to where it all began and reminded just how great a band they were.

TGOTL Exclusive - Liam Hayes & Plush live recording from 2008

There are perks to writing about the things you love. A few weeks ago I posted about one of my favourite artists Liam Hayes & Plush and the man himself retweeted my blog, catching the attention of a guy called Dan Crawford. Dan emailed me with an invitation to hear an unreleased live recording of Liam from 2008. Dan's band (Owen Tromans & The Elders) had recorded themselves when they supported Liam and managed to capture his set too. I had no expectations. Live bootlegs are often disappointing - performances diluted by crappy recording quality and crowd noise. But to my surprise the recording was stellar and the performance, a solo Liam Hayes singing and playing a Telecaster guitar through a Music Man amplifier, magical. It seemed a real shame to keep something so good a secret. I asked Dan if I could create some awareness about the live recording and share it here on my blog. Thankfully he obliged me.

So here it is. An exclusive, previously unreleased, eight song set of Liam Hayes originals, live at The Railway in Winchester, 02/09/2008. Fans will love these guitar led interpretations of songs from More You Becomes You, Fed and Bright Penny. Liam's relaxed banter between songs makes it an even more rewarding experience. It's half an hour of pure gold.

The Sailor

Take A Chance

If I Could

Getaway

Born Together

(See It In The) Early Morning

Soaring and Boring

So Much Music 

 

This wonderful music and all rights pertaining to it are reserved by Liam Hayes & Plush.

Special thanks to Dan Crawford & Owen Tromans.

I See Angels - Your Memories Are You

My band released a new album this week, so I've been busy doing interviews and playing shows to support it. I'll be posting and celebrating the things I love here again soon. In the meantime check out the music I make...

I See Angels are an Alternative Rock band from Manchester featuring Paul Baird (Vocals/Guitar/Keys), Martin Cowan (Bass) and Chris Norwood (Drums). New album Your Memories Are You was recorded entirely in basements, bedrooms and on stage. It has a raw edginess about it, a reaction to the studio recorded sound of 2011's self-titled debut album. Stylistically it's diverse and enticing, vital sounding - raucous, smash and grab indie rock collides with experimental programmed beats, lush ballads and beguiling piano tapestries. A must listen, Your Memories Are You is available exclusively at iseeangels.bandcamp.com for name your price/free download now.

Read my interview for [sic] magazine about the new album.

I See Angels support Dean Wareham (Galaxie 500), Wednesday 4th December at The Ruby Lounge, Manchester & Loom, Thursday 19th December at The Castle Hotel, Manchester.

               
               

Facebook

Twitter

Galaxie 500 - Today/On Fire

It was the morning after my birthday party. I was cleaning up the clutter in the apartment I shared, when I first happened upon Massachusetts dream-pop trio Galaxie 500. We'd made space cakes the night before - added food colouring to the mixture turning them a deep blue. They were potent. Streaks of vomit decorated the bathroom floor by the time the last guest crashed out.

A friend had left a bunch of records for me to check out, including the first two Galaxie 500 albums Today (Aurora, 1988) and On Fire (Rough Trade, 1989). I played both on loop for hours. I was an instant fan of their distinctive, dreamy, reverb drenched sound. I was in the right state of mind to discover them - make sense of their blissful, tripped out drone. To me they'll always sound like the morning after. The perfect soundtrack for piecing things back together again - lush soundscapes, like a comfort blanket. Like a hug. I listen and I'm vaguely sure that everything's going to turn out okay. There are layers of depth to their sound but on the surface their music appears unconvoluted, which I adore. Produced by Kramer, their studio albums have a live and spacious feel, like they were recorded in an aircraft hanger. They sound organic. 

Dean Wareham's voice is distinctive, you'll either love it or hate it. His guitar playing is more strummy than riffy and peppered with fiery, melodic solo bursts. Naomi Yang's bass guitar anchors the more fleeting, improvised elements of their sound. Her singing voice is high and sweet, pairing well with Wareham's and a neat alternative when taking the lead. Damon Krukowski's drumming is jazz influenced. He has great feel and his pulsing style shifts dynamically within songs preserving their momentum. It's this unique blend of ingredients and off-kilter musical skill set - well honed sense of style and character that sets them apart. No-one manages to sound quite like them. Their music still sounds fresh and appealing today.

Dean Wareham plays The Ruby Lounge, in Manchester's Northern Quarter, Wednesday 4TH December 2013. Support comes from Jason Quever (Papercuts) and my band I SEE ANGELS.

Elliott Smith - Either/Or

It's been ten years since Elliott Smith checked out. I remember the news breaking, the grey October sky, the drizzle, the stench of bleach rising from the damp shop floor where I worked - a shattering feeling of disappointment. It was the bleak realisation that there would be no more great records or shows of his to look forward to anymore.

But it came as no real surprise. Here was an artist who regularly documented his torment in song, who battled his demons and eventually lost - stabbing himself in the chest twice with a knife. But the music he left behind is still as vital and engaging as ever.

Elliott Smith - Either/Or (Kill Rock Stars/Domino 1997). A stunningly beautiful and intimate, acoustic guitar-led masterpiece. The flawless songwriting and the up-close-and-personal Lo-Fi production make this album a treat from start to finish. The narratives are edgy and captivating, the melodies catchy and anthemic, the performance's so well delivered that you occasionally feel like Elliott's singing these songs directly to you. It's what makes Either/Or so compelling - a seductive combination of close mic'd, whispery, rich sounding, double tracked vocals and harmonies, stellar musicianship and a heavy dose of raw emotion. It's as close to perfect as anything you'll hear.

The Replacements - Let It Be

The Replacements - Let It Be (Twin/Tone, 1984). One of the greatest alternative rock albums you'll ever hear. Its rich diversity and Paul Westerberg's world class songwriting make for a non-stop, raucous and exhilarating ride. It's the sound of an energetic, snotty-nosed Minneapolis punk band growing up fast - harnessing everything they've lived and learnt and turning it into art. There's a distinct chemistry throughout and hooks so instinctive and natural they'll tattoo themselves on you forever - a dose of magical recklessness and chaos about the performances - an overriding sense that these four guys are too busy having fun to notice they've struck gold. It's timeless, endearing - so entertaining you'll never tire of hearing it.

Plush - More You Becomes You

Plush - More You Becomes You (Drag City/Domino, 1998). A vital half-hour collection of sparsely embellished, raw and intimate piano ballads. In stark contrast to the lush Phil Spector-esque orchestrations adorning his debut single Three-Quarters Blind Eyes/Found A Little Baby (1994), in this set, a solo Liam Hayes triumphantly conjures a relaxed jazz-tinged atmosphere evocative of smoky bars - alluring late-night wonderlands you'll never want to leave.