The Lyre of Orpheus was Recorded by Nick Launay at Studio Ferber in Paris in Spring 2004 by the Bad Seeds line-up of Nick Cave, Mick Harvey, Thomas Wydler, Martyn Casey, Conway Savage, Jim Sclavunos, Warren Ellis and James Johnston and features the London Community Gospell Choir.
Another indispensable LP from the last forty years, “Machine Head” introduced several must learn riffs for young guitarists to start their education with and so much more. There isn’t a weak track out of the seven on the disc and “When A Blind Man Cries”, which was left off the album, gets some prominent attention here. My only complaint is not having a chapter for the ferocious “Lazy”, which lets Jon Lord’s Hammond organ get very beastly indeed (plugged into a Marshall stack), as he goes from the playful to the terrifying in this intense workout of a song.
On The Sand (6:29)
Binwa (featuring Katrina Vaughn) (6:30) Command & Obey (featuring Deborah Harry) (5:04)
Rain (instrumental) (8:54)
Why? (featuring Katrina Vaughn) (6:00)
Solamente Parole (featuring Fabio Morgera) (6:35)
The Fez (5:28)
King (featuring Katrina Vaughn) (6:08)
Tea Leaves (4:45)
Segunda Vida (3:36)
Binwa (vibes instrumental) (6:03)
That Sh**t’s Crazy
Groove Thing’s polished, jazzy fusion occasionally become too slick for its own good, drifting into colorless urban soul territory, but at its best, the group’s debut, This Is No Time, finds Bill Ware’s collective crafting seductively smooth fusion
The ever in-demand and absolutely PULVERIZING freakbeat / mod / psych dancer “Hold On”. This one has got Fleur De Lys providing the superb backing track. Have a listen below if you don’t know this!
Sharon Tandy was a blue-eyed soul singer rather in the mold of Dusty Springfield, both in terms of her voice and her versatility, blending various shades of soul, British pop, and even some tinges of mod-psychedelia. Her voice wasn’t as exceptional as Springfield’s, and she didn’t record songs that were as memorable, though a couple would have been worthy hits. Nevertheless, this is an enjoyable anthology of a worthwhile if minor performer, hitting its peak on a couple of songs on which she’s backed by British mod band Fleur de Lys, “Hold On” (galvanizing soul-freakbeat) and “Daughter of the Sun” (on which she plays the part of something like a psychedelic witch).
“Knife Edge”, is based on the first movement of JanÃ¡cekâ€™s Sinfonietta (1926) with an instrumental middle section that includes an extended quotation from the Allemande of Johann Sebastian Bach’s first French Suite in D minor, BWV 812, but played on an organ rather than clavichord or piano.
The Cyrkle was an American band with heavy British invasion/Pop-Rock influences. They were also multi-talented as each one was a singer/song writer. The music however could be switched with any number of mid-1960s Rock groups, and nothing really stands out. For example, the mellow The Visit (She Was Here) sounds just like a British act.
Michael Losekamp singing The Visit (She Was Here) is a great track. It was on the B-side of I Wish You Could Be Here.
Everything That Happens Will Happen Today, is sort of like My Life in the Lawns and Hedges. It’s a sort of suburban gospel album, full of major-key pop melodies, stacked, sterile harmonies, and lyrics that struggle, in a time of global uncertainty, to find comfort in images of domesticity. (“Home, with our bodies touching/Home, with the cameras watching/Home, where my world is breaking in two.”)
Byrne has talked about how Everything That Happens was inspired by gospel songwriting, and that’s true of the songs ‘tone of hope in despair and emphasis on phrasing more than their structure and sentiments. There are hints of gospel in Byrne’s lyrics here, like the line “chains and bars but I am still free” in “Life Is Long”; most of them, though, circle around thoughts of mortality and aging. The album’s highlight is “Strange Overtones,” a bubbling dance song that obliquely addresses Eno and Byrne’s creative process and the worry that music’s fashions have passed them by. And the title track is a sort of secular hymn, a profession of faith from which everything beyond what’s plainly evident has become subject to the erase button.
It’s one of the lost classics, a psychedelic masterpiece drenched in colour and inspired by life, love, poverty, rebellion, and, of course, “jumpers, coke, sweet mary jane”. The album is Cold Fact, and what’s more intriguing is that its maker, a shadowy figure known as Rodriguez was, for many years, lost too. A decade ago, he was rediscovered working on a Detroit building site, unaware that his defining album had become not only a cult classic, but for the people of South Africa, a beacon of revolution.
Cold Fact was originally released in 1970, to very little acclaim. The label he was on folded, and after not gaining a whole lot of commercial success, he decided to give up music.
“Boogie Woogie Country Girl” was a hit record for Big Joe Turner. The flip was a rocking version of “Corrine, Corrina“, recorded with the help of Atlantic’s Ahmet Ertegun and Jerry Wexler. The song had been recorded earlier by other artists, including The Mississippi Sheiks. The Sheiks, under two different names, recorded two earlier versions under two different titles.