Various Artists

Vaultage 79

[Another Two Sides Of Brighton]

(1979)

 

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Martha High

(1979)

 

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Foghat

Boogie Motel

(1979)

 

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1979 - Neil Young - Live Rust

1979 - Neil Young - Live Rust @320

All the kudos Neil Young earned for Rust Never Sleeps he lost for Live Rust, the double-LP live album released four months later. Live Rust was the soundtrack to Young's concert film Rust Never Sleeps (he had wanted to give it that title, but Reprise vetoed the idea, fearing confusion with the earlier album), and likewise was recorded October 22, 1978, at the Cow Palace in San Francisco. But much of the Rust Never Sleeps album had been recorded on the same tour, and Live Rust repeated four songs from that disc; besides, since Young had released the career retrospective Decade in 1977, critics felt he was unfairly recycling his older material and repeating his new material. In retrospect, however, Live Rust, now a single 74-minute CD, comes off as an excellent Neil Young live album and career summary, starting with the early song "Sugar Mountain" and running through then-new songs like "My My, Hey Hey (Out of the Blue)" and "Powderfinger." Young is effective in both his acoustic folksinger and hard-rocking Crazy Horse bandleader modes. The various distractions of the concert itself and the film, such as the pretentious props and cowled roadies, are absent, and what's left is a terrific Neil Young concert recording. (AllMusic)

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1979 - Neil Young - Rust Never Sleeps

1979 - Neil Young - Rust Never Sleeps @320

Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Young's 1978 concert tour. His strongest collection since Tonight's the Night, its obvious antecedent was Bob Dylan's Bringing It All Back Home, and, as Dylan did, Young divided his record into acoustic and electric sides while filling his songs with wildly imaginative imagery. The leadoff track, "My My, Hey Hey (Out of the Blue)" (repeated in an electric version at album's end as "Hey Hey, My My [Into the Black]" with slightly altered lyrics), is the most concise and knowing description of the entertainment industry ever written; it was followed by "Thrasher," which describes Young's parallel artistic quest in an extended metaphor that also reflected the album's overall theme -- the inevitability of deterioration and the challenge of overcoming it. Young then spent the rest of the album demonstrating that his chief weapons against rusting were his imagination and his daring, creating an archetypal album that encapsulated his many styles on a single disc with great songs -- in particular the remarkable "Powderfinger" -- unlike any he had written before. (AllMusic)

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The Raincoats

(1979)

 

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Crass – The Feeding Of The Five Thousand (1979) 320

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Steve Hackett

Spectral Mornings

[2005 Remaster]

(1979)

 

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Tony Banks

A Curious Feeling

(1979)

 

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1979 - Elvis Costello - Armed Forces (Super Deluxe Edition)

1979 - Elvis Costello - Armed Forces (Super Deluxe Edition) (Flac)

Elvis Costello revisits his 1979 album Armed Forces in a vivid assault of sound and vision. The nine-vinyl set contains B-sides, demos, outtakes and live recordings. There are also new liner notes penned by Costello, facsimiles of handwritten lyrics, as well as rare photos, concert archives and other memorabilia.

Originally titled ‘Emotional Fascism’, Elvis Costello’s third album (following ‘My Aim is True’ and ‘This Year’s Model’) was first released four months before Margaret Thatcher’s Conservative Party won the general election.

It could also have been subtitled ‘the personal is political’, given the recurring theme of global conflict, morphing into domestic discord, and back again.

In ‘Green Shirt’ the object of jealous rage is a newsreader at the time of a military coup. The tattoo-style drumming of Pete Thomas – still a Costello regular – ratchets up the tension. Costello included the song on his aborted Just Trust tour. The line: “She’s picking out names I hope none of them are mine”, took on a different resonance as Covid-19 accelerated its deathly advance.

 ‘Two Little Hitlers’ describes a relationship heading towards mutual destruction. “Pictures of the merchandise plastered on the wall/ we can look so long as we don’t have to talk at all.” Is this a couple avoiding difficult topics or a populace silenced by totalitarian propaganda? 

‘Chemistry Class’ is even more dystopian, with its depiction of a brutalising society: “They chopped you up in butcher’s school/ threw you out of the academy of garbage.” It builds towards a crescendo and closing snarl of: “Are you ready for the final solution?”

‘Party Girl’ is surely one of the greatest (non) love songs in pop history. Its stop-start rhythm was influenced by The Beatles ‘I Want You (She’s So Heavy)’. It ends with the singer protesting: “I could give you anything but time.” Gossip linked it to Bebe Buell (mother of actress Liv Tyler), but Costello later confirmed it was inspired by an art student in Minneapolis. 

The album’s big hit was ‘Oliver’s Army.’ Despite alluding to mercenary fighters, imperialism, and refugees, it reached number two in the charts, in March 1979. The Bee Gees and Gloria Gaynor were amongst those who kept it off the number one slot. Pianist Steve Nieve’s melodic ‘borrowing’ of Abba’s ‘Dancing Queen’, no doubt helped ‘Oliver’s Army’ to Gold Disc status – for more than 500,000 sales of the 7″ single. 

It can sound overfamiliar on record but still hits home in live performance, especially when performed on acoustic guitar.

Other songs, like ‘Busy Bodies’ and ‘Senior Service’, have dated less well, perhaps because of their over-reliance on puns. “You find out that a wave of her right hand could seem so tidal,” he sings on ‘Busy Bodies’ (I always thought he sang ‘. . . subtitled’ before I saw the printed lyrics). In the song, he critiques the ‘sex, drugs, and rock ’n’ roll’ lifestyle on offer at the time. Some people will complain about anything! 

“You can listen to us whiners,” he sneers on ‘Sundays Best’ – which was written with Ian Dury in mind. Costello described it as “an attack on the small-ads page of The News of The World with a big pair of scissors”. 

The extra tracks – which help to justify the reissue – include live tracks, a couple of producer Nick Lowe’s songs, and a spookily superb version of, ‘My Funny Valentine’. The lesser-known Costello songs, which must have formed the longlist for the eventual line-up, are here grouped under the heading: Sketches for Emotional Fascism.

Costello even reworked lyrics from some contenders into songs that appeared on later albums – for example, compare ‘Clean Money’ with ‘Love for Tender’, which opens Get Happy (1980).

The live tracks give a taste of the frenetic ‘Buddy Holly on Acid’ Costello of the early years – with an accent that ranges between Liverpool and Rotherhithe.

The Live at Hollywood High 1978 performances are a particular highlight, especially those, like ‘Alison’, which feature Steve Nieve’s elegant piano work. Costello explained to BBC Radio 4’s ‘Mastertapes’ programme that his manager – Jake Riviera – recruited, with financial incentives, the girls who you can hear enthusiastically yelping. “Then they saw us, and they really did start screaming”, Costello joked.

It is also well worth clicking here, to hear the inspirations behind the ‘Armed Forces’ songs – ranging from Bruce Springsteen to Max Wall and Dusty Springfield to the vintage ITV soap opera, ‘Crossroads’ theme tune.

“I just don’t know where to begin”, sang Costello on the opening line of the sublime, ‘Accidents Will Happen.’ It is unlikely that this will be the last reissue of his early albums. But he is also working on new material, including a forthcoming Broadway musical. It is a collaboration with Burt Bacharach, inspired by the film, ‘A Face in the Crowd’ (1957). It proves that 66-year-old Costello has plenty of ammunition left as he continues his march into new creative territory. (Aah Magazine)

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The Pop – The Pop (1979)

 

* The Pop were a five piece Power Pop / New Wave band from Los Angeles, they were active between 1977 to 1981, this self titled album was their only album release *

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Bullwackie's All Stars - 1979 - Black World Dub (1979) 320

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Crazy Cavan & The Rhythm'Rockers

Mr Cool

(1979)

 

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Doll By Doll – Remember (1979) (2007 cd Reissue) 320

* Ok my next 4 posts are albums requested via email by Peter in Sydney, so rather than just email links to him, thought I might as well share them here on Vibes for everyone!! *

* If anybody else would like to request something, if one of us doesn't have it, I will try to track you down a copy, just send your requests to the site email 4vibessite(at)proton.me, just swap (at) with @ *

* Doll  By Doll were a London based rock band formed by Jackie Leven in 1975. They came to prominence during the New Wave before splitting after their third eponymous album "Doll by Doll" recorded 1980 but long delayed due to contractual reasons. The fourth album was Leven and Helen Turner on vocals plus studio musicians. *

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1979 - Buzzcocks - A Different Kind Of Tension (Special Edition 2013)

1979 - Buzzcocks - A Different Kind Of Tension (Special Edition 2013) (Flac)

It's conceivable that internal friction helped inspire the title of the third Buzzcocks longplayer, A DIFFERENT KIND OF TENSION; the group would splinter shortly after the album's 1979 release. But the U.K. pop punk band went out with a bang, marshalling one of their most diverse and exciting sets of songs under the guidance of producer Martin Rushent. The breakneck pace of their first recordings is well represented by such tracks as opener “Paradise,” though by the closing sound collage “Radio Nine,” chief songwriter Pete Shelley has managed to indulge his more experimental side as well – without ever abandoning the trademark Buzzcocks wit and emphasis on melody. A superb album is made even better in this Special Edition of A DIFFERENT KIND OF TENSION with an additional disc of affiliated singles, demos and Peel Sessions live recordings. (Rhino)

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Frank Zappa - 1979 - Orchestral Favorites (40th Anniversary) (2019)

Frank Zappa - 1979 - Orchestral Favorites (40th Anniversary) (2019) @320

Although Orchestral Favorites was not released as Zappa originally planned it, it works well as an album. The 40th Anniversary Edition presents the entire album as released but adds a wealth of bonus material. Disc 1 is simply the album, as released, with an addition take of "Strictly Genteel" with overdubs by Tommy Mars (showing that Zappa kept tinkering with material even after it had been released). Discs 2 and 3 are the real bonus though. The album was recorded with no audience in Royce Hall, but the bonus material is a full show in front of an audience. Here, we really get to see the full range of Zappa's talents. He wrote all the music and did new arrangements for this ensemble. He hired and rehearsed all the players. During the show, he acted as emcee, played live guitar, conducted, and even did some mixing. It's really interesting to hear him teach the band "Black Napkins" during the show (the group had never played or rehearsed it together). It's a simple two-chord vamp, but he gives all the different parts of the ensemble different voicings right off the top of his head. The performances are great, of course, and the material from the show that didn't end up on the original album is excellent. Many of these pieces were written as ballets and Zappa's descriptions of the narratives are really funny. Terry Bozzio's excellent liner notes simply add to a great presentation. If you liked the original release of this album, you're sure to enjoy the 40th Anniversary Edition. (AllMusic)

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Serge Gainsbourg & the Revolutionaries - 1979 - Aux Armes Et Caetera-Version Internationale (2004)

Serge Gainsbourg & the Revolutionaries  - 1979 - Aux Armes Et Caetera-Version Internationale (2004) (Flac)

This is one messed up set. Dig the fact that this is Serge Gainsbourg in dread beat and booze. Aux Armes et Cætera is literally Gainsbourg on the rocksteady tip with Sly and Robbie, Flabba Holt, Michael "Mao" Chung, Ansel Collins, I-Threes, Rita Marley, Marcia Griffiths, and Judy Mowatt, Sticky Thompson, Leroy "Horsemouth" Wallace, and a bunch of French folks playing puff-the-ganja and help the white man in Kingston. Gainsbourg knew what he wanted -- a Lee Perry-styled dubber and dread outing -- and he knew the cats to hire to get it. It contains 15 cuts; some, such as "Javanise," are remakes, while others, ("Des Laids, Des Laids") were written for the session. The Jamaican studio musicians are solid, rocking it down the pipe dark, smoky, and deadly in their grooves. While Serge would seemingly be at a creative impasse, having been one of the whitest men ever to record a side, his tunes work here because he's allowed them to be completely transformed by the Rastas, and his vocals work because they are chanted rather than sung. This is weird, dangerous, and campy music, but it works like a charm. In its day this album was reviled: now it's the work of a visionary. Go figure, but if you dig Gainsbourg, this is for you. (AllMusic)

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The Fall - 1979 - Live at the Witch Trials (Expanded Deluxe Edition)

The Fall - 1979 - Live at the Witch Trials
(Expanded Deluxe Edition) (Flac)

 Misanthropy can be a compelling form of artistic expression when it avoids taking itself too seriously, and nowhere is this more in evidence than on The Fall's sprawling, ironically titled debut, Live at the Witch Trials. Falling somewhere between the aggressive anti-aestheticism of Punk and the dark artiness of Post-Punk (and somehow embodying the best traits of both), while also verging into the experimental excess of Kraut-Rock, The Fall, in their original incarnation, were a shambolic, frightening, convention-flaunting enigma masquerading as a Punk band a year late to the party. All of these elements are clearly on display on one of the album's standout tracks, "Two Steps Back," with its strange, simplistic keyboard part juxtaposed to the ominous atonal guitar tearing through the mix, and then there's Mark E. Smith chant-singing through what sounds like a bored sneer. Also well-worthy of mention is "Music Scene," a funk-based song that anticipates Gang of Four's early eighties material, and features Smith lyrically skewering- you guessed it- the music industry. A deserving target if you ask me. Live at the Witch Trials is not for the faint-of-heart, but if you have even a passing interest in the UK Punk movement of the late seventies, this iconoclastic gem is essential listening.

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Tin Huey

Contents Dislodged During Shipment

(1979 [2003])

 

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Bizarros

(1979)

 

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