between now and Christmas, T&G will count down our top 20 albums of the year. Before I start, I should mention the 'disappointment of the year'. If anyone had told me on January 1st that a new Hold Steady album wouldn't make this top 20, I wouldn't have believed it, but 'Stay Positive' didn't make the 20. The problems with the record just show themselves more and more as you continue listening, the rushed feel, the ugly production and the '...kitchen sink' mastering. Very, very disappointing and I notice that even the monthly music mags are now retreating slightly from their initial, hysterically positive reviews. Anyway, here's the first few from the T&G Top 20....
20- Willard Grant Conspiracy 'Regard The End'
A sombre, majestic, return to form from Robert Fisher and co.
19- Isobel Campbell & Mark Lanegan 'Sunday at Devil Dirt'
Mixing blues, folk and alt.country, this was a consistent collection of songs, some of which (like the supreme 'Trouble') already sound like standards.
18- She and Him 'Volume One'
Collaboration between M Ward and Zooey Deschanel. When it was good, it was a joyful, Spector-ish heaven! The 60s girl band style stuff sounded stunning and it was only held back from greatness by the slighly predictable country ballads.
15-17 coming up in the next couple of days. 'Film of the Year', 'Single of the Year', 'Reissue of the Year', 'Shop of the Year' and other such stuff coming all through December.
Monday, 1 December 2008
Friday, 28 November 2008
Dexys Midnight Runners 'Don't Stand Me Down'
Yeah, I thought I'd reminisce.
Browsing on itunes the other day, I noticed that 'Don't Stand Me Down' by Dexys is not on there. Pretty much any album you might want is on itunes, so how appropriate that a record that was all but unavailable on cd for twelve years since it's release should now be one of the last to 'go digital'.
I started listening to it again for the first time in a while.
I was a Dexys 'fan' when I was a kid, in as much as I bought 'Come on Eileen' and 'Jackie Wilson Said', but who didn't? They had no impact on my life at all until the mid 90s when my friend Lee (see recent 'Smiths' post) played me 'Too Rye Ay' and I fell in love with songs like 'Let's Make This Precious' and 'I Believe In My Soul', songs that were much more rich and soulful than I ever imagined Dexys were. As so often happens, I then made it my mission to locate and purchase everything Dexys had ever recorded. A trip to Andy's Records allowed me to acquire 'Searching For The Young Soul Rebels' and a couple of compilations, but had Dexys really recorded nothing since 1983?
In these pre-internet days, quests like this were difficult. I purchased Record Collector and found an advert for a Dexys/Kevin Rowland fanzine. I sent off a cheque and received the new and back issues of 'Keep On Running', a superb fanzine which alerted me to the existence of the great 'lost' Dexys album 'Don't Stand Me Down'. A quite ridiculously long quest followed and finally, after sending off another cheque (for £3. little did the guy know I would have paid ten times that) I received a second hand vinl copy of 'Don't Stand Me Down'.
This would never happen these days. I knew NOTHING of the record before I heard it. No leaks, no online streams, no audio clips, nothing. OK, so it was eleven years since it had been released, but still. I listened to it for the first time on my mum and dad's hi-fi, sat at the dining room table, wearing headphones, nothing prepared me for what I was about to hear.
Seven songs. Seven masterpieces. 'The Occasional Flicker' sets the scene. "Compromise is the devil talking/ and he spoke to me...", sung over a melody that was both soulful and groovy and then for the first time, the singing stops and Kevin Rowland has a conversation with Billy Adams. Kevin is still having trouble with his "burning problem", its not heartburn, its not a bit like that...its just a little matter of a burning.
'This Is What She's Like', all 12 minutes of it, is one of the greatest songs I have ever heard. Opening with an extended conversation, over no backing at all, Adams tried to get Rowland to tell us 'what she's like', instead he tells us all the things she isn't, and then describes her by singing wordlessly. The music is rich and powerful, strings and brass working perfectly together and the instrumental coda is perfection. The nearest we get to an answer is that things can be summed up by "the Italian word for thunderbolt".
Things slow down for 'Knowledge Of Beauty', a laid back ballad, with some gorgeous pedal steel guitar where Rowland sings about his love for Ireland. This is a man who people said couldn't sing and he sounds sensational, controlled and clear, full of joy and passion.
After 'One Of Those Things', a dissection of the music scene and an attack on people's lazy attitudes towards both music and politics at the time, the record heads for home with three moving love songs. 'Reminisce Part 2' a spoken word recollection of an early love builds into a beautiful take on 'I'll Say Forever My Love' by Jimm Ruffin. 'Listen To This' is a three minute, brass led, pop song with Rowland struggling to find the courage to say 'I Love You' but finally doing it and 'The Waltz' is a stirring hymn to Ireland, building into a frantic coda with Rowland repeating "here is a protest".
Nothing I can say about this album can adequately describe how much it means to me. I listened to it so much for the few weeks after I first heard it, recorded from vinyl onto cassette, that even when I listen to it now I still imagine I can hear the sound of the needle on the groove, the way I heard it first. There has been two cd reissues in the last ten years, the second because Rowland wasn't 100% happy with the sound of the first.
Every word and every note on 'Don't Stand Me Down' was worked to perfection. It is the sound of a man making the record he had to make at that point in his life and completely disregarding any worries about what anyone else might think. It is one of the most pure records I have ever heard. It is the strongest thing I have ever heard.
10.0
[copies of this album on vinyl regularly go for 99p on ebay. buy yourself one, listen to it with headphones and discover the most amazing record you will ever hear]
Browsing on itunes the other day, I noticed that 'Don't Stand Me Down' by Dexys is not on there. Pretty much any album you might want is on itunes, so how appropriate that a record that was all but unavailable on cd for twelve years since it's release should now be one of the last to 'go digital'.
I started listening to it again for the first time in a while.
I was a Dexys 'fan' when I was a kid, in as much as I bought 'Come on Eileen' and 'Jackie Wilson Said', but who didn't? They had no impact on my life at all until the mid 90s when my friend Lee (see recent 'Smiths' post) played me 'Too Rye Ay' and I fell in love with songs like 'Let's Make This Precious' and 'I Believe In My Soul', songs that were much more rich and soulful than I ever imagined Dexys were. As so often happens, I then made it my mission to locate and purchase everything Dexys had ever recorded. A trip to Andy's Records allowed me to acquire 'Searching For The Young Soul Rebels' and a couple of compilations, but had Dexys really recorded nothing since 1983?
In these pre-internet days, quests like this were difficult. I purchased Record Collector and found an advert for a Dexys/Kevin Rowland fanzine. I sent off a cheque and received the new and back issues of 'Keep On Running', a superb fanzine which alerted me to the existence of the great 'lost' Dexys album 'Don't Stand Me Down'. A quite ridiculously long quest followed and finally, after sending off another cheque (for £3. little did the guy know I would have paid ten times that) I received a second hand vinl copy of 'Don't Stand Me Down'.
This would never happen these days. I knew NOTHING of the record before I heard it. No leaks, no online streams, no audio clips, nothing. OK, so it was eleven years since it had been released, but still. I listened to it for the first time on my mum and dad's hi-fi, sat at the dining room table, wearing headphones, nothing prepared me for what I was about to hear.
Seven songs. Seven masterpieces. 'The Occasional Flicker' sets the scene. "Compromise is the devil talking/ and he spoke to me...", sung over a melody that was both soulful and groovy and then for the first time, the singing stops and Kevin Rowland has a conversation with Billy Adams. Kevin is still having trouble with his "burning problem", its not heartburn, its not a bit like that...its just a little matter of a burning.
'This Is What She's Like', all 12 minutes of it, is one of the greatest songs I have ever heard. Opening with an extended conversation, over no backing at all, Adams tried to get Rowland to tell us 'what she's like', instead he tells us all the things she isn't, and then describes her by singing wordlessly. The music is rich and powerful, strings and brass working perfectly together and the instrumental coda is perfection. The nearest we get to an answer is that things can be summed up by "the Italian word for thunderbolt".
Things slow down for 'Knowledge Of Beauty', a laid back ballad, with some gorgeous pedal steel guitar where Rowland sings about his love for Ireland. This is a man who people said couldn't sing and he sounds sensational, controlled and clear, full of joy and passion.
After 'One Of Those Things', a dissection of the music scene and an attack on people's lazy attitudes towards both music and politics at the time, the record heads for home with three moving love songs. 'Reminisce Part 2' a spoken word recollection of an early love builds into a beautiful take on 'I'll Say Forever My Love' by Jimm Ruffin. 'Listen To This' is a three minute, brass led, pop song with Rowland struggling to find the courage to say 'I Love You' but finally doing it and 'The Waltz' is a stirring hymn to Ireland, building into a frantic coda with Rowland repeating "here is a protest".
Nothing I can say about this album can adequately describe how much it means to me. I listened to it so much for the few weeks after I first heard it, recorded from vinyl onto cassette, that even when I listen to it now I still imagine I can hear the sound of the needle on the groove, the way I heard it first. There has been two cd reissues in the last ten years, the second because Rowland wasn't 100% happy with the sound of the first.
Every word and every note on 'Don't Stand Me Down' was worked to perfection. It is the sound of a man making the record he had to make at that point in his life and completely disregarding any worries about what anyone else might think. It is one of the most pure records I have ever heard. It is the strongest thing I have ever heard.
10.0
[copies of this album on vinyl regularly go for 99p on ebay. buy yourself one, listen to it with headphones and discover the most amazing record you will ever hear]
Wednesday, 26 November 2008
Denison Witmer 'Carry The Weight'
Denison Witmer has spent over ten years making consistently good indie-folk albums and in that time he has made two really excellent records.
'Philadelphia Songs', one of his early albums, is a collection of songs about home, growing up and moving on that anyone would find touching. Mainly consisting of vocal, acoustic guitar and piano, it breaks no boundaries but does what it sets out to do, very well. 2005's 'Are You A Dreamer' was better still. With songs this time about dreaming, sleep and loneliness and contributions from Sufjan Stevens, Rosie Thomas and Innocence Mission's Don Peris, this was a lovely record. In particular, 'Castles and Cathedrals', a sparse, whispered snapshot of a postcard from England was, in my opinion, one of the most beautiful songs written in the last five years. Surely with his next album, Witmer would get the recognition he deserves to stand him alongside better known peers such as Stevens, Will Oldham and the like...
Well, this album may do better commercially that it's predecessors but that won't change the disappointing fact that Witmer has made a staggeringly dull record. From the start it is clear that he has tried to move on from the slow, quiet sound of his previous records and has introduced a fuller band sound. Drums and keyboards are much more to the forefront than on earlier recordings. Opener 'Beautiful Boys and Girls' is jaunty but says almost nothing beyond repeating the title line over and over again. 'Life Without Aesthetics' is similar but better, featuring a nice lyric about bygone days and pretty harmonies at the end.
From here the album follows, almost completely, the formula of ballad followed by upbeat song. He appears to have nothing to say though. 'Carry The Weight' is trite in the extreme, to the point where you can guess the next lines before he sings them, 'From Here On Out' is an attempt at his old sound but is deathly dull and the hookline 'from here on out/ it looks like you and me' sounds more like a threat than a promise. Other songs are forgettable and 'If You Are The Writer' with it's electric guitar flurishes is dragged down by a lazy lyric. Other lyrics seem to try too hard to be interesting, what does 'patches on the elbows of my eyes' mean?
Only with the bittersweet finale 'Chesapeake Watershed' does he get anywhere near the quality of songwriting of some of his previous efforts. This is a real disappointment. Witmer sounds bored himself, so how on earth can he expect the listener to feel any differently?
4.5
['Carry The Weight' is out now on import and on vinyl from Burnt Toast records]
'Philadelphia Songs', one of his early albums, is a collection of songs about home, growing up and moving on that anyone would find touching. Mainly consisting of vocal, acoustic guitar and piano, it breaks no boundaries but does what it sets out to do, very well. 2005's 'Are You A Dreamer' was better still. With songs this time about dreaming, sleep and loneliness and contributions from Sufjan Stevens, Rosie Thomas and Innocence Mission's Don Peris, this was a lovely record. In particular, 'Castles and Cathedrals', a sparse, whispered snapshot of a postcard from England was, in my opinion, one of the most beautiful songs written in the last five years. Surely with his next album, Witmer would get the recognition he deserves to stand him alongside better known peers such as Stevens, Will Oldham and the like...
Well, this album may do better commercially that it's predecessors but that won't change the disappointing fact that Witmer has made a staggeringly dull record. From the start it is clear that he has tried to move on from the slow, quiet sound of his previous records and has introduced a fuller band sound. Drums and keyboards are much more to the forefront than on earlier recordings. Opener 'Beautiful Boys and Girls' is jaunty but says almost nothing beyond repeating the title line over and over again. 'Life Without Aesthetics' is similar but better, featuring a nice lyric about bygone days and pretty harmonies at the end.
From here the album follows, almost completely, the formula of ballad followed by upbeat song. He appears to have nothing to say though. 'Carry The Weight' is trite in the extreme, to the point where you can guess the next lines before he sings them, 'From Here On Out' is an attempt at his old sound but is deathly dull and the hookline 'from here on out/ it looks like you and me' sounds more like a threat than a promise. Other songs are forgettable and 'If You Are The Writer' with it's electric guitar flurishes is dragged down by a lazy lyric. Other lyrics seem to try too hard to be interesting, what does 'patches on the elbows of my eyes' mean?
Only with the bittersweet finale 'Chesapeake Watershed' does he get anywhere near the quality of songwriting of some of his previous efforts. This is a real disappointment. Witmer sounds bored himself, so how on earth can he expect the listener to feel any differently?
4.5
['Carry The Weight' is out now on import and on vinyl from Burnt Toast records]
Saturday, 22 November 2008
The Twilight Sad '...Killed My Parents and Hit The Road'
I may have said this before, but The Twilight Sad can do no wrong.
They followed up 2007's revelatory debut '14 Autumns and 15 Winters' with a mini-album 'Here It Never Snowed...' which showed a completely different side to their sound, offering slower, tension filled versions of some of their songs. Now, they return with a compilation of live tracks, instrumentals and covers released to fund their participation in a European tour with Mogwai.
There are four live versions of tracks from '14 Autumns...' recorded at a gig in Glasgow, all sounding absolutely great and truly ear-shredding. 'Cold Days From The Birdhouse' in particular starts slow and brooding but you are just waiting for the crescendo to hit and when it does the explosion of noise and feedback just makes you wish you'd been at the gig. A live cover of Joy Division's 'Twenty Four Hours' is similar, starting off with an almost jaunty bassline it is drenched in guitar noise before the first minute is over, somehow James Graham's vocal still manages to hold the attention, sounding in turns aggressive and then sensitive.
The cover of The Smiths' 'Half A Person' meanwhile is gentle and acoustic. Their take on Yeah Yeah Yeahs' 'Modern Romance' is quite brilliant, Graham sings softly over a guitar refrain, all sounding wonderfully intimate.
For the third straight release The Twilight Sad sound confident and adventurous. Their next album proper, due in 2009, should be quite something.
9.0
['The Twilight Sad Killed My Parents and Hit The Road' is streaming now at Fat Cat Records's website and is out on mp3 and cd on 8th December from indie stores only (way to go!)]
They followed up 2007's revelatory debut '14 Autumns and 15 Winters' with a mini-album 'Here It Never Snowed...' which showed a completely different side to their sound, offering slower, tension filled versions of some of their songs. Now, they return with a compilation of live tracks, instrumentals and covers released to fund their participation in a European tour with Mogwai.
There are four live versions of tracks from '14 Autumns...' recorded at a gig in Glasgow, all sounding absolutely great and truly ear-shredding. 'Cold Days From The Birdhouse' in particular starts slow and brooding but you are just waiting for the crescendo to hit and when it does the explosion of noise and feedback just makes you wish you'd been at the gig. A live cover of Joy Division's 'Twenty Four Hours' is similar, starting off with an almost jaunty bassline it is drenched in guitar noise before the first minute is over, somehow James Graham's vocal still manages to hold the attention, sounding in turns aggressive and then sensitive.
The cover of The Smiths' 'Half A Person' meanwhile is gentle and acoustic. Their take on Yeah Yeah Yeahs' 'Modern Romance' is quite brilliant, Graham sings softly over a guitar refrain, all sounding wonderfully intimate.
For the third straight release The Twilight Sad sound confident and adventurous. Their next album proper, due in 2009, should be quite something.
9.0
['The Twilight Sad Killed My Parents and Hit The Road' is streaming now at Fat Cat Records's website and is out on mp3 and cd on 8th December from indie stores only (way to go!)]
Friday, 21 November 2008
Single Of The Week
Emmy The Great 'We Almost Had A Baby'
I first saw Emmy The Great supporting The Mountain Goats at Union Chapel about a year ago and left thinking that she was a very talented singer-songwriter and one to watch. Mixing clever and sometimes cutting lyrics with sweet melodies, her set at the Chapel perfectly fitted the folky vibe of the night.
Her album has been a very long time coming. Despite lots of record company interest, she has insisted on making the album her way and self-financing it. Judging by this first single it will be worth the wait when released in January. 'We Almost Had A Baby' is a jangly pop song of the highest order with swooning strings and 60s style backing vocals. It all sounds very accomplished indeed and while the song has a warm, Christmassy vibe, the lyrics are sharp and witty. Perfect for listening to on a walkman as you stroll along on a crisp Winter's night.
I'm going to stop now as I've used the word 'vibe' twice already in this review and it is all I can do to stop myself using 'cutting' a second time as well. This is SINGLE OF THE WEEK anyway.
['We Almost Had A Baby' is out now on 7" vinyl and digital download. 'Emmy The Great' is actually Emma-Lee Moss and assorted helpers, I meant to mention this in the actual review.]
I first saw Emmy The Great supporting The Mountain Goats at Union Chapel about a year ago and left thinking that she was a very talented singer-songwriter and one to watch. Mixing clever and sometimes cutting lyrics with sweet melodies, her set at the Chapel perfectly fitted the folky vibe of the night.
Her album has been a very long time coming. Despite lots of record company interest, she has insisted on making the album her way and self-financing it. Judging by this first single it will be worth the wait when released in January. 'We Almost Had A Baby' is a jangly pop song of the highest order with swooning strings and 60s style backing vocals. It all sounds very accomplished indeed and while the song has a warm, Christmassy vibe, the lyrics are sharp and witty. Perfect for listening to on a walkman as you stroll along on a crisp Winter's night.
I'm going to stop now as I've used the word 'vibe' twice already in this review and it is all I can do to stop myself using 'cutting' a second time as well. This is SINGLE OF THE WEEK anyway.
['We Almost Had A Baby' is out now on 7" vinyl and digital download. 'Emmy The Great' is actually Emma-Lee Moss and assorted helpers, I meant to mention this in the actual review.]
Wednesday, 19 November 2008
what happened to the sound that left you lying on the floor, laughing, crying, jumping and singing
Nothing to review at the moment. Well, there is one cd, but I can't be bothered to do it yet (not a glowing endorsement, I guess).
I've been listening a lot to Belle & Sebastian's 'Dear Catastrophe Waitress' lately. I love the feeling of joyful lethargy (is that a phrase? or even a combination of words that can be used together in any reasonable way at all?) in it. I don't know this, and I may very well be wrong, but I imagine that Stuart Murdoch went through quite a lot before recording this album and instead of dwelling on those things, he pulled everything apart and started again and DCW is the sound of him making those steps. That is how it sounds to me anyway.
It relates at the moment because, career-wise, I feel a bit like that at the moment. Have made some bad career decisions this year and at times in the last few days I have felt a bit like 'Dear Catastrophe Administrator'. I kind of think it might be time for me to strip everything away and start again, although I am a bit old to do so perhaps (34). How I wish I could have made the right decisions when I was 18 and then perhaps now I could be writing about music for a living. Instead of which I'm doing something else for a living and writing about music for a hobby. Badly.
So thats one possible reason why I've been listening to DCW so much. The other likely one is just that it feels like an Autumnal album. Sometimes a record hits you at a particular moment and then that moment in time will always be indicative of the album. DCW, as it happens, really clicked with me over a sequence of 3-4 days back in 2003 when I was delivering some scintillating training sessions at the L&D (scintillating in my head. in reality they probably involved me jabbering, laptops not doing what I want them to do and students yawning). I can vividly remember walking down Leagrave High Street and thinking what a great record DCW was.
Now we're sort of going round in circles cos that has reminded me of a time when I was doing a job I enjoyed. Enough. None of this is 'for here'. Although if I leave this post un-tagged, the fact that hardly anyone (no-one) visits this site on a daily basis, like as a rule by going to the main page means that I can say pretty much whatever I like, cos nobody will read it. Hmmm.
Anyway, if anyone wants me to write about music for them or write bios for bands or do anything at all, you can contact me. Not that I'm desperate for a career change or anything.
Christ, lets hope there's something to review soon eh? If only Amazon would dispatch my Denison Witmer import cd (6-9 days, my arse) we'd be alright and I could just witter on inanely about that instead.
Bye for now 'readers'.
I've been listening a lot to Belle & Sebastian's 'Dear Catastrophe Waitress' lately. I love the feeling of joyful lethargy (is that a phrase? or even a combination of words that can be used together in any reasonable way at all?) in it. I don't know this, and I may very well be wrong, but I imagine that Stuart Murdoch went through quite a lot before recording this album and instead of dwelling on those things, he pulled everything apart and started again and DCW is the sound of him making those steps. That is how it sounds to me anyway.
It relates at the moment because, career-wise, I feel a bit like that at the moment. Have made some bad career decisions this year and at times in the last few days I have felt a bit like 'Dear Catastrophe Administrator'. I kind of think it might be time for me to strip everything away and start again, although I am a bit old to do so perhaps (34). How I wish I could have made the right decisions when I was 18 and then perhaps now I could be writing about music for a living. Instead of which I'm doing something else for a living and writing about music for a hobby. Badly.
So thats one possible reason why I've been listening to DCW so much. The other likely one is just that it feels like an Autumnal album. Sometimes a record hits you at a particular moment and then that moment in time will always be indicative of the album. DCW, as it happens, really clicked with me over a sequence of 3-4 days back in 2003 when I was delivering some scintillating training sessions at the L&D (scintillating in my head. in reality they probably involved me jabbering, laptops not doing what I want them to do and students yawning). I can vividly remember walking down Leagrave High Street and thinking what a great record DCW was.
Now we're sort of going round in circles cos that has reminded me of a time when I was doing a job I enjoyed. Enough. None of this is 'for here'. Although if I leave this post un-tagged, the fact that hardly anyone (no-one) visits this site on a daily basis, like as a rule by going to the main page means that I can say pretty much whatever I like, cos nobody will read it. Hmmm.
Anyway, if anyone wants me to write about music for them or write bios for bands or do anything at all, you can contact me. Not that I'm desperate for a career change or anything.
Christ, lets hope there's something to review soon eh? If only Amazon would dispatch my Denison Witmer import cd (6-9 days, my arse) we'd be alright and I could just witter on inanely about that instead.
Bye for now 'readers'.
Saturday, 15 November 2008
Belle & Sebastian 'Life In Belfast 2001'
See last month's review of the 'BBC Sessions' cd. The 2cd has now arrived containing the live recording from Belfast in 2001...
..and what a good snapshot it is of how a Belle & Sebastian gig was in 2001. Before they decided to become more 'professional' and take playing live more seriously their gigs were often ramshackle and erratic. I remember seeing them play in London around the same time as this recording and they disappeared mid-set for what seemed like an age, while we were 'entertained' by a local steel-drum group that Stuart Murdoch was fond of. From many bands this would come over as arrogant, but from B&S it was just misguided.
This recording is similarly unfocused. A member of the audience joins the band to sing 'Waiting For The Man' and while the selection process and song choosing is edited down here, I can imagine that on the night it took some time. Isobel Campbell sounds completely dis-interested and her vocals are at times, almost inaudible. But still there are some triumphs here: 'The Model' and 'The Wrong Girl' remind you that 'Fold Your Hands Child..' was a decent album in places and 'The Boy With The Arab Strap' is always magical to hear.
This is a pretty good representation of how B&S were at the time and while it is fun and sometimes heartwarming, it also demonstrates why things had to change. Its well worth buying the 2CD to reminisce though.
..and what a good snapshot it is of how a Belle & Sebastian gig was in 2001. Before they decided to become more 'professional' and take playing live more seriously their gigs were often ramshackle and erratic. I remember seeing them play in London around the same time as this recording and they disappeared mid-set for what seemed like an age, while we were 'entertained' by a local steel-drum group that Stuart Murdoch was fond of. From many bands this would come over as arrogant, but from B&S it was just misguided.
This recording is similarly unfocused. A member of the audience joins the band to sing 'Waiting For The Man' and while the selection process and song choosing is edited down here, I can imagine that on the night it took some time. Isobel Campbell sounds completely dis-interested and her vocals are at times, almost inaudible. But still there are some triumphs here: 'The Model' and 'The Wrong Girl' remind you that 'Fold Your Hands Child..' was a decent album in places and 'The Boy With The Arab Strap' is always magical to hear.
This is a pretty good representation of how B&S were at the time and while it is fun and sometimes heartwarming, it also demonstrates why things had to change. Its well worth buying the 2CD to reminisce though.
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