Tír Na HiFi

Shane,

Here's the Lps as promised :) The first one from 1970 and the second from 1971. That's all I'm saying except the first one is all covers including two fifteen minute monsters and the second one was voted by Julian Cope his number one Jap album in his Japrocksampler book :) Enjoy the rest of the journey. You'll be dancing around the living room with a broom in no time! Don't say you haven't been warned. Astonishing music.....Jimmy Page et al eat your heart out :)

Footnote: I think the lead singer died some time ago. Last year?

cybot wrote:Shane,

Here's the Lps as promised :) The first one from 1970 and the second from 1971. That's all I'm saying except the first one is all covers including two fifteen minute monsters and the second one was voted by Julian Cope his number one Jap album in his Japrocksampler book :) Enjoy the rest of the journey. You'll be dancing around the living room with a broom in no time! Don't say you haven't been warned. Astonishing music.....Jimmy Page et al eat your heart out :)

Footnote: I think the lead singer died some time ago. Last year?







Excerpt only....Louisiana Blues




21st Century Schizoid Man (King Crimson)









Satori 2

Thanks Dermot, will check them out later - not sure about that cover though. Reminds me of when my copy of Electric Ladyland kept "moving itself" out of public view when I lived with my parents! Will have to hide it if they call to visit me;-)
Got a loan of this yesterday on cd:

Working my way through my second hand vinyl haul currently so new purchases have to be curtailed a bit.
This is currently on:

Enjoyed that Shane :) That Allman's album is a good if patchy compilation as far as I remember. Now you'll be able to fall asleep to the complete Mountain Jam :) I have that Calexico album too. It's a good one but I've always felt that if you have one Calexico album that's all you really need. I have two :)

markof wrote:

Been listening to L'Amour by Lewis and despite the awful joke cover and the joke title/name combination, is a really terrific record.
Like a cross between ambient Eno, Cocteau Twins and Blue Nile.
Album was supposedly released in 1983 by an Alberta stockbroker/conman named named Randall Wulff who has not been heard from since.

There is a good write-up at http://pitchfork.com/reviews/albums/19389-lewis-lamour/ and I'll paste a bit in here:

"The liner notes for Light in the Attic’s new reissue of L’Amour, the only known album by an artist known as Lewis, read more like a murder mystery than a making-of. In 1983, a guy named Randall Wulff showed up at Music Lab studio in Los Angeles with a white Mercedes convertible, a beautiful girlfriend, perfect hair, and a handful of ethereal synth-pop-folk tunes. Wulff then hired photographer Ed Colver, best known for documenting the West Coast punk scene, to shoot the starkly monochromatic album cover. By the time Colver realized the check had bounced, Wulff had disappeared. There were rumors that he had gone to Las Vegas or possibly Hawaii, but most likely he had returned to Alberta, Canada, where nearly twenty-five years later a vinyl collector named Jon Murphy came across a copy of L’Amour at a flea market."

It's available on Qobuz and I believe on Spotify - well worth checking out.

Any other records with such bizarre histories out there ?

Mark

Here's another one :)


http://www.normanrecords.com/records/14 ... s+by+Lewis

for swmbo


And later on vinyl

cybot wrote:

markof wrote:

Been listening to L'Amour by Lewis and despite the awful joke cover and the joke title/name combination, is a really terrific record.
Like a cross between ambient Eno, Cocteau Twins and Blue Nile.
Album was supposedly released in 1983 by an Alberta stockbroker/conman named named Randall Wulff who has not been heard from since.

There is a good write-up at http://pitchfork.com/reviews/albums/19389-lewis-lamour/ and I'll paste a bit in here:

"The liner notes for Light in the Attic’s new reissue of L’Amour, the only known album by an artist known as Lewis, read more like a murder mystery than a making-of. In 1983, a guy named Randall Wulff showed up at Music Lab studio in Los Angeles with a white Mercedes convertible, a beautiful girlfriend, perfect hair, and a handful of ethereal synth-pop-folk tunes. Wulff then hired photographer Ed Colver, best known for documenting the West Coast punk scene, to shoot the starkly monochromatic album cover. By the time Colver realized the check had bounced, Wulff had disappeared. There were rumors that he had gone to Las Vegas or possibly Hawaii, but most likely he had returned to Alberta, Canada, where nearly twenty-five years later a vinyl collector named Jon Murphy came across a copy of L’Amour at a flea market."

It's available on Qobuz and I believe on Spotify - well worth checking out.

Any other records with such bizarre histories out there ?

Mark

Here's another one :)


http://www.normanrecords.com/records/14 ... s+by+Lewis

The whole story really doesn't really pass the sniff test. Now a second album appears with another cheesy cover. Bizarre.
Keyboards on first album sound like Angelo Badilamenti. I wonder if David Lynch is involved. Has a Twin Peaks vibe about the whole thing.
Mark

Listening again this evening to St. Vincent's eponymous fourth album and what strikes me is just how cyclical this sequence of songs is.  Essentially, this album is about the modern urban nightmare where the lives we live have become progressively disconnected from ourselves and from each other.  We become increasingly nullified as human beings as we actively seek to distance ourselves from any kind of emotional attachment.  However, we are ultimately at the mercy of our own human nature which is to love others.  Clark's character finds that love and loses it and she is crushed by the experience.  When I describe the album as a cyclical experience, what I mean is that these traumatic experiences are repeated many times over the course of a lifetime and what makes this sequence of songs so tragic is just how self-aware Clark's character is about the reality that love and happiness is all too fleeting and it is delusional to believe otherwise.  This is why the closing song, Severed Crossed Fingers, is so devastating.  It is a song not just about a loss of a loved one,  but rather it is about living under the cumulative weight of experiencing a series of tragic losses throughout one's life and what it does to us as human beings.  In the case of this album, what Clark's character does is retreat from the urban nightmare of the city to what she hopes will be a self-renewing experience in the desert (as portayed in the opening song on the album, Rattlesnake).  However, she finds herself terrified by the unexpected presence of something wild and unknown and uncontrollable, a rattlesnake.  She hears the rattlesnake but she does not see it but its presence is sufficient to send her scurrying back to the familiar surroundings of the city where the cycle begins again once more.  A remarkable album which continues to reward the listener the more you listen.

Lovely follow-up to Diamond Mine from King Creosote
It's the soundtrack to a recent BBC documentary on the history of Scotland.
Fine melodies, some gospel-leaning, strong lyrically.