'Alive She Cried' - the 15 greatest live albums...

There seems to of been a movement away from the live album since the formats illustrious days in the 1970s. Back then albums like 'Kiss Alive', Neil Diamond's 'Hot August Night' and Peter Frampton's 'Frampton Comes Alive' were among the biggest selling albums of the decade. Today they seem to be more after thoughts or contract fillers. To celebrate the genre and highlight that live albums can be significant musical statements in their own rights here's a list of my 15 favourite. To make the list they have to be official releases. Oh and despite the title the Doors missed the cut!

15. Stage - David Bowie


'Stage' was originally released in 1978. Bowie was at the height of his Eno inspired Berlin soul period and this live set captures it beautifully. It was recorded during the '78 tour of the US.

14. The '68 Comeback Special - Elvis Presley


This is probably better known as a TV special/video then as an album, but its stands up on vinyl incredibly well. The television show was aired in the US in December 1968. It was Elvis's first live show since 1961. In the interim his reputation had taken a pounding following years of disney B grade movies. Dressed in full leather and looking fit, tanned and healthy the show was a triumph. It marked a musical reawakening for the 'King', but as we all know it wasn't to last very long.

13. Big Time - Tom Waits


This is probably not where someone new to Tom Waits should start. It's a challenging collection of songs as only Waits could deliver. It was (much like Waits himself) a divisive records with many critics writing it off. It was released as a movie - part concert footage, part play and all odd!!

12. 1969: The Velvet Underground Live


'The Velvet Underground Live' was recorded to 4 track over the last months of 1969 in Dallas and San Francisco. It eventually surfaced in 1974. There are probably better bootleg recordings available (see 'The Basement Tapes') but as far as official releases go this is the best. The two album set is probably most notable for the previously unheard tracks that appeared on it ('We're Gonna Have a Real Good Time Together', 'Over You', 'Sweet Bonnie Brown — It's Just Too Much') as well as a number of other songs that had only been heard as Lou Reed solo outings.

11. From Here to Eternity Live - The Clash


I both love and am frustrated by this collection of live tracks from The Clash. Its the Clash, one of greatest live rock bands ever and the performances of this record are stellar. I just find that as a collection of tracks recorded live over 5 years that the track listing could of been stronger. That being said. Its still the Clash and its still great live versions of awesome songs.

10. The Name of This Band is Talking Heads - Talking Heads


Others may argue that the wildly popular 'Stop Making Sense' was a better live record but for it me its not a scratch on 'The Name of this band is the Talking Heads'. A double album released in 1982 it captures the band at their two creative peaks - The first album is the 4 piece performing between 1977-79 (songs from '77 and More Songs About Buildings and Food) and the second record is an expanded 10 piece outfit (including Bernie Worrell and Adrian Belew!) - including tracks from 'Fear of Music' and 'Remain in the Light'. I sometimes forget just how good the Talking Heads were, a quick spin of this record is a thudding reminder.

9. Kick Out The Jams - MC5


'And right now it's time to... KICK OUT THE JAMS, MOTHERFUCKERS!' - with that line introducing the albums title track singer Rob Tyner, created one of the most famous live utterances in the history of live rock'n'roll.
Not to many bands put out a live album as their debut but then not to many bands are the MC5. Along with fellow Detroit natives "The Stooges' they were the punk rock God Fathers. 'Kick out the Jams' was recorded live in in late October '68 in Detroit and released the following year.

8. Rock 'n' Roll Animal - Lou Reed


The classic Lou Reed live album. It demands inclusion for the version of 'Sweet Jane' alone. It was recorded in New York in Dec, 1973 and released in '74. The original vinyl version only consisted of 5 tracks, but with three of them 'Sweet Jane' (7.57), 'Heroin' (13.16) and 'Rock'n'Roll' (10.08) all in extended versions it had no trouble filling an album. The remastered version included two extra tracks.

7. It's Alive - The Ramones


The Ramones famously played 2263 live shows. 'It's Alive' was a recording of one of those shows, on New Years Eve 1977. It was released a few months later in April' 98. In typical Ramones fashion the double album rips through 28 songs with many of them failing to break the 2 minute barrier before Dee Dee jumps in with "1234!" heralding the start of the next song. A punk rock masterpiece!

6. Live at Carnegie Hall - John Coltrane & Thelonius Monk


Its hard to see how the Thelonious Monk and John Coltrane's combined talents could produce anything except genius and this live set recorded at Carnegie Hall on November 29th, 1957 doesn't do anything to dispute the notion. Monk the piano playing 'father' of bebop and Coltrane the saxophonist who is often credited with inventing modern Jazz were both at the top of their game. Spectacular!

5. Get Yer Ya Ya's Out - Rolling Stones


Those who have read this blog from its inception will realise its from this album I stole the blogs title. 'Ya, Yas' is a recording of a live Stones show recorded at Madison Square Garden in November, 1969. I love the cover, not often you see Charlie Watts having such a good time!!

4. At San Quentin - Johnny Cash


Of his two recorded prison shows, Folsom and San Quentin, the later is the most impressive. Cash was urged by Columbia Records and close associates not to do the show for fear of becoming typecast. Instead he had the project filmed and funded by Granda Television for documentary release. Johnny was at the height of his power when the show was recorded in '69 and it shows. Cash shows a deep understanding and empathy for his audience and riles the prison authorities with humorous innuendo. Significantly it marked the first performance of 'Boy named Sue' and 'San Quentin' (its said that Cash wrote San Quentin in a matter of minutes the night prior to the show). Columbia did release the album initially as a 10 song vinyl album eventually releasing the show in its entirety a few years back

3. Unplugged In New York - Nirvana


'Unplugged In New York' was recorded in November, 1993 as part of the MTV unplugged series. I personally always thought Nirvana were a great band and Kurt Cobain a great song writer but it took hearing this to truly understand the extent of Cobain's genius. Nirvana run through some of their classic material drastically reinventing them for the unplugged format. Kurt's voice cries with a haunting beauty allowing the scope of his lyrical prowess to come to the for. It also includes a memorable version of David Bowie's 'The Man Who Sold the World'.

2. Live Rust - Neil Young & Crazy Horse


'Live Rust' was recorded on October 22nd 1978 at the Cow Palace, San Francisco. Its an outdoor venue and during the early stages of 'The Needle And The Damage Done' thunder and then rain can be heard pelting down. Neil humourlessly implores the audience to 'think really hard' to get the rain to stop. 'Live Rust' features Young at his acoustic best and as the rocking leader of the powerful Crazy Horse. When on song few bands can claim the power of crazy horse and this set sees them at their peak.

1. The Royal Albert Hall Concert - Bob Dylan


For so long the holy grail of bootlegs The Royal Albert Hall show was finally released as Volume 4 of the official Bob Dylan Bootleg series. Far more then just a gig it represents one of the most significant moments in contemporary culture. Dylan goes electric and rock music is changed forever. 1000s upon 1000s of acts may of never formed or at least been vastly different if Dylan had never picked up the electric guitar and got the Hawks (later The Band) to back him. Of course everyone knows the story, Dylan plays the first half of the show acoustic, returns to the stage for the 2nd set with the hawks in tow, plugs in and an audience member yells out 'Judas'. Dylan retorts and then turns to the band and says 'play it fucking loud!' before exploding into a rocking version of 'Like a Rolling Stone'. The strangest thing about 'The Royal Albert Hall Concert' is that it was actually recorded in Manchester at the Free Trade Hall. Early bootleggers made the mistake and history and Dylan himself have maintain the illusion. Despite that oddity May 17, 1966 should be a day commemorated by fans of rock music as its one of its most significant dates.

*Honourable Mentions -
George Harrison - Concert for Bangladesh
Bill Withers - Live at Carnegie Hall,
The Fall - A Part of American Therein, 1981
The Jam - Dig the New Breed
Japan - Oil on Canvas
Otis Redding - Live in Europe
King Crimson - Absent Lovers
The Band - The Last Waltz
Live Seeds - Nick Cave & The Bad Seeds
Bird at Birdland - Charlie Parker
My Funny Valentine 1964 - Miles Davis
The Who - Live at Leeds
- and probably 100s I've forgotten......

For Download below 3 albums :
1. Thelonious Monk Quartet with John Coltrane
2. Ramones - It's Alive
3. MC5 - Kick Out The Jams

Thelonious Monk Quartet with John Coltrane

Ramones - It's Alive

MC5- Kick Out The Jams

House keeping

Few little house keeping announcements here at The Greatest Rock'n'Roll Site in the World...

Firstly we have a new contributor, Luke. His first post is below. He looks at the riff, that magical note that makes a song. Hope you enjoy his enlightened observations. More contributors will be coming on board over the coming weeks.

Also over the next few days we'll be launching a review section. First up will be the new Interpol and Spoon records so look out for that. Thanks and keep reading...Cheers, Peter.

The Greatest Riffs of All Time.

A great riff captures everybody, every time. If you’re standing at the bar, waiting at a red light, walking across a bridge, sitting at your computer, digging for a beer at a party or sipping a cup of tea in the morning the great riff will transport you. It will grab you by the lapels and shout in your face and demand your attention AND it will never be forgotten. That first experience is bottled and put away in the recesses of your mind. Each time the guitar explodes from the speakers you relive that first experience and (unfortunately) the imaginary plectrum appears between your thumb and forefinger, your jaw stiffens, your top lip lifts into a Sid Vicious sneer and you start playing against your lower thigh. Just because you’ve never played guitar before in your life means nothing. You're a God! The great riff can do that to you without blinking an eye. You'll be up on stage prancing around like Jimmy Page or methodically working the strings like Joey Santiago. It will possess your soul and, suddenly, you will become a dickhead.

Here is a list of what I consider to be some of the greatest riffs of all time. A couple of provisos were: no particular order and Guns and Roses were not considered because I hate them. I also doubled up on a couple because I couldn't decide which was the better riff from that particular band.

1. No Fun - The Stooges

2. Wild Thing - The Troggs

3. All the day and all of the night - The Kinks

4. M - The Cure

5. Money - Pink Floyd

6. Day of the Eagle - Robin Trower

7. Queen Bitch - David Bowie

Cracked Actor - David Bowie

8. Houses of the Holy - Led Zeppelin

Heartbreaker - Led Zeppelin

9. The Changeling - The Doors

Peace Frog - The Doors

10.Kundalini Express - Love and Rockets

11. Sunshine of your Love - Cream

12. Can't you hear me knocking - The Rolling Stones

13. The Passenger - Iggy Pop

14. Sex Beat - the Gun Club

Run through the jungle - The Gun Club

15. Vicious - Lou Reed

16. Smells like teen spirit - Nirvana

17. Another girl, another planet - The Only Ones

18. Two States - Pavement

19. Debaser - The Pixies

Where is my mind? - The Pixies

U-mass - The Pixies

20.Bohemian Like You - The Dandy Warhols

21. Enter Sandman - Metallica

22. Teenage Lust - The Jesus and Mary Chain

23. You only live once - The Strokes

24. Youth against Facism - Sonic Youth

25. Seven Nation Army - The White Stripes

The Return of Robert Forster - Danger in the Past

Robert Foster, one half of Brisbane's Go-Betweens made his return to the stage last night (25/7/07) as part of a 4 night series, 'The Four Ages Of Robert Forster'. Wednesday nights show was a rendition of his superb first solo outing 'Danger in the Past'. 'Danger' was recorded in 1990, a year after the initial breakup of the Gobs. It was his first full live show since the death of his Go-Betweens' cohort and great friend Grant McLennan in May last year.
Shortly after the bands initial demise Robert relocated to Germany and along with his new wife Karin Bäumler-Forster moved into a Bavarian farm house. A number of the songs that appeared on the first solo outing were intended for inclusion on what would of been the 7th Go-Betweens album 'Freakchid'. Of course that album never happened. The band disbanded, Grant went on to record the over produced 'Watershed' with Dave Dobyn and Robert recorded 'Danger in the Past' with the Bad Seeds' Mic Harvey at the helm. 'Danger in the Past' is certainly Robert's strongest solo outing and there is an argument to be mounted that its the strongest collection of songs that Robert ever recorded.
The concept of the 'Four Ages of Robert Forster' is 4 nights of Robert playing three of his solo albums (DitP, Calling From A Country Phone and Warm Nights with the fourth night being the best of the Go-Betweens from 2000 until 2006). To add authenticity each album is to be played with the musicians who appeared on the record (or as close as humanly possible).
This of course meant that for last nights show Robert was joined by Bad Seed's Mic Harvey and Thomas Wylder.
The show opened with an understandably nervous Forster giving the audience an outline of the machinations that led to the album's creation before inviting the various musicians on stage to join him. Harvey (piano, keyboards) and Wylder (drums) were joined by later day Go-Between Adele Pickvance on bass. Harvey and Wylder were a revelation. The venue (Brisbane Powerhouse) is relatively intimate. In the predominately seated mode as it was last night the capacity would of been around 400. It allowed the audience to get a look at the talents of the two Bad Seeds that under normal circumstances larger venues would prevent. Nick Cave is one of rocks great front men and as such he demands attention at a Bad Seeds show often at the expense of his fellow band mates. Wylder especially is often over looked, as Robert said when introducing him he is one of the great drummers in world rock and after seeing him last night its hard to argue the point.
Robert chose not to play the album in the order they appeared on the album, rather in an order that "would work better in a live setting".

The live order was :

Robert introduces the album
The River People
Is This What You Call Change
Leave Here Satisfied
Baby Stones
Justice
Danger In The Past
I've Been Looking For Somebody
Heart Out To Tender
Dear Black Dream

Encores :

Lime Tree Arbour (Nick Cave)
The Prisoner (The Saints)
German Farmhouse (The Go-Betweens)

Robert has settled into the elder statesmen role with dignity and style. Watching the show I couldn't help thinking about Forster fronting the Go-Betweens in the 80s. The over the top stage antics and costumes. His mid eighties 'Prince' stage. In fact Robert jokes that Prince stole his image. During the late 80s Robert often appeared on stage in dresses with full make up. Infamously Australian Music honcho Michael Gudinski went up to Grant McLennan during the REM/Go-Betweens tour of Australia in 1989 and said "Great riffs man but dump the dude in the dress!!" No idea!
The Robert Forster of today and indeed since the the 2000 reformation of the Go-Betweens is a more circumspect performer. What's impressive is that the idiosyncrasies are still there today they're just a little less obvious. Present day Robert dressed in a dark suit can do with a dart of the eye and subtle mouth pouts what he achieved in the 80s with costumes and makeup.

Danger in the Past is a wonderful record and last nights performance of it was a truly memorable. The return of Robert Forster was an historic moment and Bobby delivered on the Hype!

Danger in Past is available for download below as well as the video for Baby Stones the albums only single...enjoy.

Danger in Past

Baby Stones Video :

The Decade of the Triffids

Australia was blessed with some great indie rock bands in the 1980s and 90s. The Triffids were amongst the very best. The band was formed in Perth, Western Australia in the late 70s, the most isolated city in the world. This isolation and insulation had a profound effect on the development of the band and its members. Its remarkable that bands can so completely encapsulate their environment, a trait they can hold onto long after departing the city for greener pastures. In an early post I spoke of the Go-Betweens and Brisbane and it was a very similar scenario for Perth and the Triffids.
The band grew from the ashes of an early David McComb outfit 'Daisy'. It also featured fellow Triffid Alsy MacDonald and Black Eyed Susan Phil Kakulas. Following the release of a 'tape' release the band disbanded and McComb put together the Triffids. (obviously the name was adopted from the sci-fi classic 'The Day of the Triffids'.) In the early 80s McComb relocated the band to Sydney and the lineup settled. McComb (guitar, vocals), his brother Robert (guitar and violin), Martyn Casey (bass), Jill Birt (keyboards), 'Evil' Graham Lee (pedal steel, guitar) and Alsy MacDonald (drums). By the time they arrived in Sydney they had developed their distinctive lofi postpunk jangle with McComb's unique voice developing into a powerhouse. There was a definite Bob Dylan and Television influence in their music but more significantly was the Velvet Underground, a band which the Triffids covered constantly as part of their live set.
While in Perth the band had released a number of cassettes and a solitary vinyl 7" 'Stand Up/Farmers Never Visit Night Clubs'. Though 'Stand Up' was unmistakably the Triffids, it was musically naive (not necessarily a criticism) with a 60s bubble-gum feel. It wasn't until they reached Sydney that their releases started to show the maturity and beauty that would soon become synonymous with the Triffids. The first single was a 4 song outing released in early 1982 featuring Reverie / Place in the Sun // Joan of Arc / This Boy. To this day Reverie remains one of my favourite tracks from McComb and co, a beautiful song a testament to a band beginning to reach its potential. Later in '82 the delightful Spanish Blue single was released followed in '93 by 'Bad Timing and other Stories'. 'Bad Timing' was another 4 track ep, apart from 'Bad Timing' the other standout track was the fantastic 'Being Driven'.
'Treeless Plain' the debut album for the Triffids was finally released in late 1983. 'Treeless Plain' refers to the Nullabor Plain, a desolate area between Perth and Adelaide a trip that the Triffids would of done more then once. Nullabor is an Aboriginal word meaning no tree. Its more a record of great promise rather then a great record. It certainly has some great tracks though, 'Red Pony', 'My Baby Thinks she's a Train', 'Rosevel' and a great cover of Bob Dylan's 'I Am A Lonesome Hobo'


One of the first NMEs I ever bought and one I hold dear till this day.......


More singles followed 'Treeless Plain' they included some of my all time favourite Triffids' songs - 'Beautiful Waste' and 'Raining Pleasure'. It also marked the Triffids' relocation to the UK. They followed in the footsteps of The Birthday Party, Go-Betweens, The Moodist, The Saints and more in what was one of the most significant cultural exodus in Australian History. For McComb, still in his early 20s, it was the beginning of a great (and ultimately tragic) adventure.
Their first gig in the UK was supporting the Go-Betweens and as Robert Forster later noted they were brilliant and in fact blew a lacklustre Go-Betweens off the stage. It was the beginning of a great friendship and an unspoken rivalry between the two bands. It was late 1984 and the Triffids were at the precipice, 1985 was to prove the bands best and it couldn't of begun better then with NME making them cover stars and declaring that the year would be theirs. (see above).
The band quickly established themselves on the live circuit, they started playing festivals and toured with Echo and the Bunnymen. They also released the monumental psychodrama 'Field of Glass'. It was another multi tracked single with the lead track being an epic 8 minute cacophony unlike anything else being released at the time. It was a delicious appetiser for the bands classic album 'Born Sandy Devotional' which they spent the last half on '85 recording. 'Born Sandy Devotional' was released in 1986 to rapturous reviews. As an Indie rock band they had two unique intruments, Evil Graham Lee's Pedal Guitar and Robert McComb's violin (extra string musician were included on the sessions) and its was a clever use of these instruments that pushed what would of been an otherwise great album into a masterpiece.



The Masterpiece 'Born Sandy Devotional'. Cover art shows a spectacular aerial cover photograph of Mandurah Township

Whereas 'Treeless Plain' used its title to set a geographical context, 'Born Sandy Devotional' establishes it with cover art. It shows a photograph of the Mandurah Township, some 80km south of Perth. Its set alongside the Peel-Harvey Estuary, bordering the Indian Oceon. Manddurah is an Aboriginal word and is roughly translated as the meeting place. Lyrically the album is dark, tales of love, loss and despair, it shows McComb's coming of age as a lyricist. Many of the songs paint pictures of the West Australia of his youth. To pick out highlights is lessening the albums overall impact, but the songs that I personally keep returning to include : 'Seabirds', ' Estuary Bed', 'Tender Is the Night (the Long Fidelity)' and the single (and semi hit) 'Wide Open Road'. For a record that was recorded in the UK, 'Born, Sandy Devotional' is a true 'Australian' record and its one of the greatest records Australia has produced.

In 1986 the band returned briefly to Australia, specifically to a remote West Australian Woolshed and in a 24hour period recorded their follow up, 'In the Pines'. Rumour has it that the total album budget was just over a $1000, $350 of which was spent on booze. Recorded onto an eight track it sees the band incorperate what ever instrumentation was on hand, brooms, water tanks, tin cans and even the floor boards. Understandably the album is a lo fi affair but it holds up surprisingly well. '25 to 5', 'Better off this Way', 'One Soul Less, 'On Your Fiery List', 'Once a Day' and the title track, a disquieting love song that with an unusual provenance are highlights. Weirdly for me the albums finest moment is 'Born Sandy Devotional' a haunting piece, lasting less then a minute, it was obviously meant for the bands previous effort with which it shares its title. Though the record was approached with a sense of fun, its holds up and it sits comfortably with their other releases. David McComb himself never really understood why fans liked the album so much, explaining the band had songs and time off and 'In the Pines' was the result. Genius can be hard to hide.

1987 saw the Triffids finally sign to a major, Island Records. It came a little to late though. By this stage the band were facing issues with almost constant poverty, burn out, alcohol and drug abuse. McComb though still a young man as the band leader was said to be its greatest victim. 'Calenture' was their first release for Island. If the band were suffering from burn out they still managed to push out a great record. Major label meant more money and more responsibility. Craig Leon who had worked with The Fall, The Ramones and Blondie to name a few was drafted in to produce the record. The sessions were as Robert McComb later claimed 'a waste of time', more preciously they were a disaster. Leon actually requested of Island that the rhythm section of Casey and MacDonald be fired. Eventually sanity prevailed and the band returned to former producer Gil Norton to complete the sessions. Calenture is an attempt to develop the sound established on 'Born Sandy Devotional". The string section is larger then 'BSD' and the sound is lush and textured. 'Bury me Deep in Love' was the leading single and was another almost hit for the band. 'Hometown Farewell Kiss' is an ode to McCombs love/hate relationship with his hometown of Perth (its actually a reworking of 'One Soul Less on Your Fiery List' which appeared on 'Pines.) 'Kelly's Blues', 'Holy Water' and 'Save what you can', are the albums other standouts.

1989s "Black Swan' would prove to be the bands swan song, it was also their weakest record. The black swan is the official animal of Western Australia it's featured on the Western Australian flag and their Coat of Arms. They were a band in decline, with a number of its members battling demons. Its a less symphonic affair then its predecessor. 'Goodbye Little Boy', was the single and saw Jill Birt return to vocal duties. My problem with 'Black Swan' is its attempt to genre hop. Traditional Triffids' territory was joined by attempts at Jazz, hip hop inspired naratives and even a Synth/Beat attempt. Amazing if it can be pulled off but unfortunately it fails here. Critics were generally unimpressed when compared with previous efforts. (Though we are talking about a pretty high bench mark here). Its not without highlights though, 'Blackeyed Susan' and country-flavored ballad 'New Year's Greetings' are the Triffids at their very best.

The band disbanded in late '89. Alsy MacDonald is now a lawyer and is married to architect Jill Birt. Robert McComb teaches at Melbourne State High School. Martyn Casey joined the Bad Seeds, Evil Graham Lee joined the Black Eyed Sussans and for the last ten years has dedicated vast amounts of his time to keeping the Triffids' flame burning.
After the band disbanded David McComb returned to the UK unsuccessfully attempting to launch his solo career. Returning to Australia in late '92 he performed with the wonderful Black Eyed Susans and formed Coaster. He saved most of his best post Triffids work for his next band, The Red Ponies, a band that included Warren Ellis (Dirty Three/Bad Seeds/Grindermen, etc). He also returned to University in Melbourne, studying Art History.
In 1996 after battling ill health for a while David McComb was diagnosed with cardiomyopathy, a heart condition that was seen to be a direct result of alcoholism and heroin and speed abuse. He successfully under went a heart transplant shortly after diagnosis. Three years later on February 19th, 1999 he was involved in a car accident and was hospitalised over night and released. Doctors believed his injuries were of a minor nature. Three days later McComb was dead. In February the following year the State Coroner of Victoria handed down his findings The West Australian Newspaper reported "McComb's mental and physical condition had deteriorated after his accident but his death was due to heroin toxicity and mild acute rejection of his 1996 heart transplant". He was only 36.

Due in no small part to the efforts of Evil Graham Lee the Triffids legacy is immense.
*Australian broadcaster SBS is about to run a series entitled 'The Great Australian albums', they've selected five of which 'Born Sandy Devotional' is one.
*A few years back the Australian Performing Rights Association compiled the 20 greatest Australian songs of all time, 'Wide Open Road' was included.
*In 2006 the entire back catalogue of Triffids Albums was re-mastered and re released, all selling well.
*A plaque commemorating the band, specifically 'Born, Sandy Devotional' was unveiled in 2006 at the Mark Angelo studio in Farringdon where the album was recorded.

To download below is the incredibly rare 'Jack Brabham' tape. Only 50 copies of the tapes were produced and were sold by the band at Perth shows on the 19th and 20th of December 1988. To quote the sleeve notes - "Ninety minutes of rare (and under cooked) snippets of tunes allegedly attributed to the Triffids. Beware of wildly fluctuating recording and performing quality."
Its a treasure chest of wonderful songs, some released in alternate versions some never heard before or again.
An odd thing about the Triffids is that some of their best songs were only ever released as singles, in recognition of this I've included a few for download below.
I've also included a number of clips for your viewing pleasure.



Jack Brabham Tape Side A

Jack Brabham Tape Side B

And some early singles:

Reverie

Spanish Blue

Being Driven

Beautiful Waste

From 1983s 'Treeless Plane' - 'Red Pony'



The 1982 single - 'Spanish Blue'



From the 1986 'Australian Made' concert tour - 'Wide Open Road' live - from the 1986 studio album 'Born Sandy Devotional'

Neil Young - Chrome Dreams

The old expression, "One man's garbage is another man's gold" has never rung truer then with Neil Young's 1976 bootleg 'Chrome Dreams'. Neil Young was at creative peak at this time. The last three albums Young had released 'Time Fades Away', 'On the Beach', and 'Tonights the Night' were some of his darkest and best work. Then came the return of raw Crazy Horse rock in 1975 with the LP Zuma. Chrome Dreams was slated to be its successor. Its a combination of rock and acoustic. - one reviewer claimed, "it was Harvest after a visit by the Darkside". In effect it was a collection of songs that Neil recorded but for whatever reason decided not to release. Lots of these songs would remain unheard by the public until quite a while later, but by late ’75, Neil had already written and recorded versions of such future classics as Like A Hurricane, Powderfinger, Sedan Delivery, Pocahontas and Ride By Llama. It also feature's some classic tracks that until the acetate's discovery in 1992 remained unheard.


The acetates accompanying paper work (click to enlarge).


In truth there was a lot about this period that till this day remains a mystery. Crosby, Stills, Nash and Young were supposed to be returning to the studio to record what would later be the Stills/Young 1976 release 'Long May You Run'. The sessions were said to be tumultuous with rumours that Crosby and Nash snuck into the studio and wiped their respective vocals.
At the same time Neil was supposed to be readying a triple album greatest hits collection entitled 'Decade'. It even went as far as displays in record stores and press releases and advance copies being sent being sent out to media. When the October release date came and went a rumour spread that Young had died of an over dose. In contradiction to these rumours 'Rolling Stone' magazine ran an article in their November '76 edition that Neil was in fact putting the finishing touches on a new album to be entitled 'Chrome Dreams'. However both 'Decade' and 'Chrome Dreams' failed to materialise as the slated Christmas release period came and went (Decade eventually appeared in October, 1977).
'American stars n bars' was release in June 1977 and many assumed that this was the album previously known as 'Chrome Dreams' - in fact a number of the songs do appear on both (Will to Love, Star of Bethlehem, Like a Hurricane, Hold Back the Tears and Homegrown)



A run through of the tracks :

1. Pocahontas: The same take as heard on Rust Never Sleeps, minus overdubs. An acoustic tale of massacred Indians. American Star 'N' Bars back cover shows an Indian women, perhaps indicating that this was originally slated for inclusuion as no other tracks have an Indian theme.

2. Will To Love: Released as is on American Stars N' Bars. An almost creepy atmospheric love song.

3. Star of Bethelem: Same take and track as on Decade.

4. Like A Hurricane: As heard on American Stars N' Bars.

5. Too Far Gone: A stripped down version of the track that wouldn't appear for on 11 years on Neil's 1988 album Freedom.

6. Hold Back the Tears: A more slowed down bluegrass version of the song heard on American Stars N' Bars.

7. Homegrown: This take is the same as the one on American Stars N' Bars but it is a different mix. The guitars crunch more, emphasizing Neil's love of the domestic life.

8. Captain Kennedy: Eventually was released on the album Hawks and Doves in 1980.

9. Stringman: 'Stringman' didn't see the light of day until a 1993 unplugged session. This is a touching piano ballad caught live about the loss of the old ways taken over by the counterculture. Beautiful song, incredibly emotive.

10. Sedan Delivery: Totally different version then the one that appears on 'Rust Never Sleeps'. One review describes it as - "This version is less cow-punk and more slowed down country metal. Even its whole tone is different in that sounds less like the dumb Buford punk rock we know it as and more like a heavy slap from a biker."

11. Powderfinger: An acoustic version of the song later electrified on Rust Never Sleeps. The story of a boy shot down as he protects his family. The acoustic version empowers the lyrics to a much greater degree then the "Rust Never Sleeps' rock version. Australian band 'Powderfinger' tell a story of playing the Fuji Rock Festival in Japan which Neil and Crazy Horse headlined, Neil discovered a band named after one of his songs were on the bill and not only did he play it (something he rarely does of late) but he dedicated it to them...career highlight or what?!?!

12. Look Out For My Love: Later heard on 'Comes A Time' - a beautiful track of love and lament.

In many ways Neil Young is the unrecognised 'soul' of the Northern American working man. He's remained relevant and rarely has his work faltered. His approach to his music has been unconventional. Holding onto tracks for years often releasing them in live takes. It makes him even more exceptional. 'Chrome Dreams' is available for download below, its a must have for any Neil fan.
Also a number of Neil clips from over the years with loads more at the this blogs youtube site.

Chrome Dreams

Crosby, Stills, Nash and Young - Down by the River



'Old Man' - From Harvest - Live 1971



'Rockin' in the Free World' - Live on Saturday Night Live



With Crazy Horse - 'Hey Hey, My My (Into The Black) - From Rust Never Sleeps




Let's Impeach the President

All the way with the USA!

Fourth of July tomorrow, America's Birthday.....hmmm how sweet. Here's a mix of 25 songs inspired by the good ol' US of A. No rhyme or reason for selection, though I stayed away from acts I've blogged about before. Available as single downloads or grouped together at the bottom...enjoy.



1. Living in America - James Brown

2. Help Save the Youth of America - Billy Bragg

3. North American Scum - LCD Soundsystem

4. ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart - Manic Street Preachers

5. I'm So Bored With the USA - The Clash

6. Young Americans - David Bowie

7. Radio America - The Libertines

8. Ashes of American Flags - Wilco

9. The American Ruse - MC5

10. America Is Waiting - Brian Eno & David Byrne

11. Amerika - Rammstein

12. Little America - REM

13. When the President Talks to God - Bright Eyes

14. The Ugly American - Big Black

15. Independence Day - Elliot Smith

16. Democracy - Leonard Cohen

17. 'Merican - Descendents

18. We're An American Band - Yo La Tengo

19. American Trilogy - Elvis Presley

20. The body of an American - The Pogues

21. The American - Simple Minds

22. Last Great American Whale - Lou Reed

23. Kids In America - The Muffs

24. Bleed American - Jimmy Eat World

25. Look Inside America - Blur

And a bonus track....fuck yeah!!

America, Fuck Yeah - Team America

Alternate Download -

Fourth of July Mix, Disc 1 Songs 1-13

Fourth of July Mix, Disc 2 Songs 13-26