Monday, March 25, 2024

MAD DOG MARTIN STONE - magnificent 4-CD-box

 

4-CD-Box Cover

Martin Stone – Down But Not Out In Paris And London – The Mad Dog Chronicles

is a 4-CD-box which has been so beautifully made that I thought I must be dreaming.

The Mad Dox Box 1 is a joint effort of three record labels: Projectile, Pygtrack and Soft Cloud. Most certainly this is a limited issue, and I dare say that the three labels involved will not cash in money enough to buy themselves terraced houses – not because the music is irrelevant, but because the release is so expensively done. The box, the accompanying book, the four-fold fold-out-cardboard sleeve for the CDs, the CDs themselves have been beautifully illustrated by John Hurford. His drawings are magnificent, the Tony Poole artwork is to the mark. The 50-page book (bound in a hard cover) is richly illustrated with photos, drawings posters… and entertains the reader with reminiscences and memories of an outstanding musician. Among the contributors are Russell Hunter, Michael Moorcock, Tony Poole, Roger Powell, Pete Thomas, Carol Grimes, Edwin Pouncy, Eric Golden to name just a few. Nigel Cross, the co-ordinator of this effort magnifique, has compiled a portrait of “Stoney” - a lover beloved - as he was seen by bandmates and friends.


 Martin “Stoney” Stone has played with many bands – The Savoy Brown Blues Band, Mighty Baby, The Pink Fairies, The Tallahassee Rent Boys, The OTs and even a number of French bands when he was living there. Thus the music featured here is multidimensional – from Hillbilly or Gypsy Swing to Balladesque or French Chansons, from wailing Blues to Rock’n’roll, from Garage Rock to almost free form improvisation.

The bands featured on these four CDs are The Tallahassee Rent Boys, Mighty Baby, Almost Presley, Totally Hank, Wolf People, The OTs, Les Soucoupes Violentes as well as duo work with Matt Deighton as well as Stéphane Eden and four tracks as Martin Stone solo.

The music has been culled from various and often private sources, but rest assured, the sound quality is always high even if the music originated from a cassette tape. Tony Poole as the master of the knobs guarantees for that.

CD 3 jacket

 

The variety of musical approaches on these CDs covering Stoney’s music and musical contributions from 1992 to 2013 is wide, and if cover versions are performed they range from Robert Johnson via John Coltrane to Gun Club.

So, what are the songs that impressed me most?

First and foremost it is John Coltrane’s “India” on disc 3 - a 20-minute Jazz and Rock synergy and a tour of free form improvisation recorded live by Mighty Baby in 2006: a three guitarists’ challenge. In 1970, when people were more receptive and open-minded this interpretation would have moved mountains.  “Little Girl Blues” by Almost Presley was heart-stopping. Almost Presley – racing along with a dominating violin – sound like Gypsy Swing with a load of Mexicana. Their unexpected tempo changes and stops are exciting.  

CD 1 jacket

I’ve already mentioned the kaleidoscope of sounds the listener can expect on “Down But Not Out”, so while the Blues wailing of the OTs (feat. Chris Youlden) exposes a broad chest and stands up to the very best of the British Blues masters, Matt Deighton’s “A Blaze Of Light” is floating along like a sailing boat in a summer breeze. Stéphane Eden’s “Elle n’aime pas me chansons” is a psychedelic Blues chanson which turns into a Garage Punk rocker. I also dug Les Soucoupes Violentes who drifted between Pub Rock Chamber Music and brash Rolling Stones-like R & B – including inspired longish guitar solos. 

Les Soucoupes Violentes

Martin Stone in the 70s
If “India” is one, then the four tracks of solo work of Martin Stone on CD 2 are the other highlight.

It was a great idea to finish this box set with the 1996 tribute song “Martin” by Clay Harper & The Pierced Hearts feat. Eric Goulden and Charles Wolff. Little things like this add to style.

By my standards, this box set is a must, however expensive it might be. Thank you, Nigel!

The accompanying book's backside

 Orders via https://shagratrecords.com/

 

Saturday, March 23, 2024

VELVET MONKEYS – Psychedelic Garage Rock from Washington, D.C.

 


 

The Velvet Monkeys came from Washington, D.C.. Formed in 1981, band members also were part of the band Half Japanese. Also around in Washington, D.C., in the early eighties were bands like The Nurses, with whom Velvet Monkeys shared bills occasionally.

 


After getting rid of their drum machine, the band were joined by a variety of drummers. 

The band on “Everything Is Right” was

Don Fleming (vocals, guitar)
Elaine Barnes (vocals, keyboards)
Stephen Soles (bass)
Jay Spiegel (drums on 01, 05, 10), Robert Mann (drums on 02, 03, 04, 06, 07, 08), Kendall Church (drums on 09)

 


Producer Skip Groff was quite an institution in Washington, D.C., and the Velvet Monkeys were happy that he took them on. He and Don Zientara recorded the band at the famous Inner Ear Studios. Zientara owned Inner Ear Studios and is another prominent figure in Washington, D.C.. His name graced many record sleeves.

 


“Everything is Right” was a cassette-only release by Monkey Business and was originally published in July 1982.

Wednesday, March 20, 2024

GAMES : 1981 New Wave Synth Pop

 

GAMES : 1981 New Wave Synth Pop


Okay, if you don’t like Synth Pop, Games or The Games are nothing for you. Yet, this is kinda cool and it’s what was happening when New Wave got going in 1980. However The Games did not make it big, not even in Japan. But they’ve got a nice set of tunes that places them firmly in the Top 20 of the 2nd division. 



The Games were from Wirral and the personnel was Steve Knott, Brendan Coyle and Colin Hughes. They released three 7”ers only: First Law Of Games b/w Childsplay on Games Records in 1980, and Dance This Way b/w Love Canal on Open Eye Records in 1982. Posthumously 4.0 b/w 10 was released on INDEX: Records in Germany in 2021. In 2013 an album with demos and other studio recordings had been released on Anna Logue Records in Germany. 


 

The recordings on this tape date from 1981,  they were sent to me by the band in 1981 on a cassette - something common then. The cassette packaging was lovingly designed, as it was practice in those days, too. And I stored the cassette well to put it to good use now, more than 40 years later. 

Three of the tracks are studio recordings, the other six are live recordings, surprisingly of almost studio recording quality.