Hi there Vibes will be two years old at the end of September and I thought some regulars to the site might like to help us celebrate with a special Box Of Vibes comp.
So if you would like to take part then all you need to do is suggest and couple of tracks to be included into the compilation. Just comment with your name so we can say on the comp who suggested which tracks, they can be from any decade and of any musical genre you wish. I will then try to compile it.
So on this post add two tracks that you think we should include. Put the artist / band followed by the track and the year, can you please also add the album / EP they come from as well which should make them easier for me to find.
Just drop the track titles into the comments below, I will then search for the tracks suggested. If I can't find a 320 copy, I will ask you to email me a 320 copy of your suggestions.
The final day to submit your tracks is Friday 18th September, which will give me time source the tracks and compile the comp.
The Apostles were an experimental post-punk band who developed within the confines of the 1980s Anarcho Punk scene in the UK, but did not necessarily adhere to the aesthetics of that movement.
Although the core of the group remained stable, Andy Martin and Dave Fanning were joined by various members over their 10 year span. Variation was also key in music styles as they varied from pop to punk to industrial through to pure experimentation, with influences like The Velvet Underground, The Adverts, Alternative TV, Lemon Kittens, The Pop Group and Twelve Cubic Feet cited.
Although highly critical of the seemingly inward looking anarchist movement of the times, the autonomous and libertarian approach of The Apostles seemed to portray classic anarchism, as opposed to the conformity of many of their contemporaries. This led to much respect from notable members of the original anarcho-punk movement such as Crass with whom the band co-operated during the squatting of the Zig-Zag Club and running ofThe Autonomy CentreandCentro Ibericovenues, and Conflict who released a single and album by The Apostles on their Mortarhate label.
Originally formed in 1980 by William Corbett, Julian Portinari, Dan MacIntyre and Pete Bynghall, the band came into its own when Andy Martin joined to contribute lead vocals and lyrics. Shortly afterwards he was joined by Dave Fanning, ex-Innocent Bystander bassist. During this period the band recorded numerous DIY demo cassettes. In 1983 The Apostles released their first 7" single and were joined by 14 year old Scottish drummer Chris Low, ex-Political Asylum. It is from this time that The Apostles have been described as having started their 'proper recording career', releasing four classic singles, the best of which are shortly to see a long overdue re-release on CD, plus numerous full-length albums and further cassette releases.
The Apostles split up in 1989, immediately formingAcademy 23who released a number of works. Andy Martin & Dave Fanning continued asUnit (6)although Dave Fanning left Unit in 2007, leaving Andy Martin and Colin Murrell as the only members of Apostles in UNIT.
Don't ask for a re up of this in the future, I only kept CD 1 & 2, the interviews didn't interest me, listened to them but decide not to keep them. If you happy with just the two cd's then I will be happy to re up them.
Small Faces - 2014 - Here Come The Nice (4CD) @320
The legendary British mod rock band Small Faces’ recording career was split into two distinctive periods. From 1965 until 1967 the band, managed by Don Arden and signed to Decca Records, spent the majority of time performing live and recording sessions were sporadic and time in the studio was limited. However, from 1967 until disbanding in 1969 the group was signed to Andrew Loog Oldham’s Immediate Records label and studio time was virtually unlimited. Guitarist/vocalist Steve Marriott, bassist/vocalist Ronnie Lane, keyboardist Ian McLagan and drummer Kenney Jones took full advantage of the extended studio time, evidenced by all the unreleased material included in this marvelous box set.
“Here Come The Nice” marks the second 4 CD box set dedicated to Small Faces’ Immediate recordings, the first, also on the Charly label, being 1995s “The Immediate Years” compiled by Phil Cohen and containing every track the band released on the label in Germany, the US and the UK, 86 tracks in all. The box sets compliment each other incredibly well as the new release concentrates mainly on previously unreleased material, all 34 tracks on discs two and three making their debut here, a huge addition to the Small Faces catalog indeed.
But, I’m getting ahead of myself. Disc One contains the mono single mixes of all ten singles released on the Immediate imprint, beginning with this set’s title track from 1967 and ending with the 1969 tour de force, “Afterglow Of Your Love”, released posthumously, Steve Marriott having left the band to form Humble Pie with ex-Herd guitarist/vocalist Peter Frampton. Of the ten singles, six made the UK top 40, with three making the top ten: “Itchycoo Park” (#3, and at #16 the only Small Faces single to chart in the US), “Tin Soldier” (#9) and “Lazy Sunday” (#2). Small Faces’ Immediate singles were consistently strong and unlike their Decca counterparts were all band originals, written by the team of guitarist/vocalist Steve Marriott and bassist/vocalist Ronnie Lane. Particularly memorable to American listeners is the trippy, phased “Itchycoo Park” a real psychedelic gem. “Here Come The Nice” follows the drug theme, written about the group’s amphetamine connection. Marriott’s guitar work is consistent throughout, but particularly interesting on tunes such as the classic “Tin Soldier” and my personal favorite the amazing “Afterglow Of Your Love”. With twenty tracks and a run time nearing an hour, disc one is an incredible introduction of things to come.
Discs Two and Three contain nothing but previously unreleased material, 34 tracks total, an honest to goodness treasure trove for collectors and fans alike. Ranging from first takes of later finished tunes like “Green Circles” and “Wide Eyed Girl On The Wall” to alternate mixes of “I Can’t Make It”, “Wham Bam Thank You Man”, “Penny Rides A Penny A Glass” and “Red Balloon”. There are alternate takes on tracks like “Collibosher” “Wide Eyed Girl” and “Call It Something Nice”. Tracking sessions for never issued songs are included giving the listener a hint of what could have been on tunes such as “Anything”, “Wit Art Yer” and “Doolally”. Backing tracks like “All Our Yesterdays”, “Fred” and “Jack” while not finished products prove quite interesting even in instrumental format. An early mix of “Lazy Sunday Afternoon” offers a look inside the band’s songwriting technique. While the run times on these two discs may be relatively short, the presence of previously released songs such as “Fred”, “Mind The Doors Please” and “Jack” make this set absolutely essential for fans of Small Faces, mod rock and psychedelic rock.
Disc Four collects alternate and out-takes along with the five live tracks posthumously released on “Autumn Stone” in the UK and “In Memoriam” in Germany. Stereo mixes of single tracks “Itchycoo Park”, “Here Come The Nice” and “I’m Only Dreaming” released originally on “There Are But Four Small Faces” get things going. The band’s song building is displayed on take 2, alternate mixes of “Eddie’s Dreaming” and “(Tell Me) Have You Ever Seen Me”. Of particular interest is an alternative mono single version of “Afterglow Of Your Love” presented at the original LP speed, the original single having been deliberately speeded up. Mono versions of “Me You And Us Too”, “Don’t Burst My Bubble” and (If You Think You’re) Groovy” credited to The Lot-P.P. Arnold & The Small Faces sound ready made for AM radio. Alternate mixes of “Piccanniny”, “Up The Wooden Hills To Bedfordshire” and “Get Yourself Together” vary sufficiently from the released versions to prove quite interesting. The disc closes with the five live tracks, recorded at Newcastle City Hall in late November, 1968 and released on “Autumn Stone” and “In Memoriam”. They have been corrected for speed and have had some of the audience screaming, added in 1969 at Pye Studios, removed. High energy stuff and a perfect way to end the set! (PsychadelicBabyMag)
Box of vibes number 48 is here, we start this week with my (Reb) tracks from 1 to 8, then Andy's tracks are in the middle section from 9 to 16, then Concha's selections close this week with her tracks from 17 to 24. It's the normal mix of genres and decades, including alternative and cover versions.
Since we won't be posting anything on Sunday's here on Vibes, I will publish a week review of the weeks posts, first thing every Sunday. But there will be no new albums posted on Sundays any more, just this weekly review.
It will give us all (vibes team members) a day to plan what we will share next week and get some preparation work done, ahead of posting. Or a day to chill and catch up with new music.
But it will make it easy for you to catch up, if you have missed something.
It's not bad at all, 34 posts over six days, from many different genres of music.
All links are 320. We are not sharing Flac or Wav posts here on Vibes anymore sorry.
Remember there will no longer be Flac or Wav posts here on vibes, in the future we will only share as 320 or mp3 in lower bit rate than 320 from time to time, but will always be marked on the post.
Praxis was the name of an experimental rock project, led by prolific producer/bassist Bill Laswell and featuring guitarist Buckethead and drummer Bryan "Brain" Mantia in nearly every incarnation of the band.
The group worked with many other artists such as Serj Tankian from System of a Down, Iggy Pop, DXT and DJ Disk.
Recorded at Knitting Factory, NYC Friday, June 30, 2000
2004 - Faces - Five Guys Walk Into A Bar (4CDs) @320
There has never been a better box set than the Faces' Five Guys Walk into a Bar.... There has never been a box that captures an artist so perfectly, nor has a box set taken greater advantage of unreleased and rare material, to the point where it seems as essential and vital as the released recordings. Simply put, there's never been a box set as necessary as this, since it tells the band's entire tale and explains exactly what the fuss is all about. Unfortunately, some explanations are in order, since the Faces never made it big, resigned to cult status in America and Britain alike. Nevertheless, if you love rock & roll with an all-consuming passion, you may consider the Faces the greatest rock & roll band ever. And you'd be right. Other bands were certainly bigger and plenty wielded a stronger influence, but the Faces were something unique, an endearingly ragged quintet that played raw, big-hearted rock & roll as hard as the Rolling Stones, but with a warm, friendly vibe that would have sounded utterly foreign coming from the Stones. At the turn of the '60s, that warmth was unusual in rock & roll, since most of the big bands were larger than life; even the Kinks, the quaintest and quietest of the titans of the late '60s, had a theatrical bent that lent them a mystique.
In contrast, the Faces were utterly without mystique. They were unpretentious to a fault, coming across like the lovable lads from the neighborhood who were always out for a good time, whether it was before, during, or after a gig. They were unassuming and mischievous, with their raggedness camouflaging a sweetness that flowed throughout their music; they were charming rogues, so endearing that even the infamously cranky, trendsetting British DJ John Peel had a soft spot a mile wide for them. That raggedness resulted in exhilarating music, but also made the Faces inconsistent on-stage and in the studio. At their peak, nobody could touch them, but even their greatest albums were sloppy, never maintaining their momentum. They would also throw away great songs on non-LP singles, and their live performances -- including BBC sessions for Peel -- often had a raucous energy not quite captured on their albums. All of these elements taken as a whole add up to a great band, but no single album, not even the first-rate 1999 compilation Good Boys When They're Asleep, captured each of these elements.
Five Guys Walk into a Bar... does. Produced and sequenced by their keyboardist, Ian McLagan, the set throws all conventional rules of box sets out the window. It's not assembled in a chronological order. A grand 43 of its 67 tracks are non-LP cuts and rarities, including a whopping 31 previously unreleased tracks. It has all the B-sides never released on CD. Several songs are repeated in alternate live or studio versions. Such a preponderance of rarities would usually mean that a box set is only for the devoted, but that's not the case here -- these rarities are the very reason why Five Guys Walk into a Bar... succeeds in a way none of their original albums do, since they fill in the gaps left behind on their four studio albums. This does mean that it features several Rod Stewart solo cuts that worked their way into the Faces' repertoire (partially because the band backed him on his solo albums, too), but that was an important part of their history (plus, the BBC version of "You're My Girl [I Don't Want to Discuss It]" is blistering hot), and while this showcases Stewart at his best -- he never was better than he was in the early '70s, whether it was fronting the Faces or on his solo records -- he never overshadows his mates on this box.
The focus is on the band as a whole, which means that the spotlight is shone on the late, perpetually underappreciated Ronnie Lane numerous times on each of the four discs, and that Ronnie Wood has his turn at the microphone on a wonderful live "Take a Look at the Guy." McLagan's song sequencing may appear to have no logic behind it, since it doesn't group recordings together by either era or scarcity, yet his seemingly haphazard approach makes musical and emotional sense, flowing like a set list yet remarkably maintaining momentum through its four lengthy discs. While it may sound like hyperbole, there's never a dull moment here, not a bad track among these 67 songs -- it's consistent in a way the Faces never were when they were together. It's a joyous, addictive listen, too. It sounds like a party, one where everybody's invited and where the music doesn't stop playing until the break of dawn. That makes a perfect tribute for a band that never got the respect they were due, and never made the great album they should have made. With Five Guys Walk into a Bar..., the Faces finally have that great album and not just that, they have a box set that's as infectious and satisfying as any classic rock & roll album and a box set that's quite possibly the greatest box set ever made. Plus, it's just one hell of a good time. (AllMusic)
