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SONG of the DAY: Dominant Legs - "Hoop Of Love" (Official)

SONG of the DAY: "Hoop Of Love" by Dominant Legs. Joyous dream pop with shimmering 80s jangle. Origin: San Francisco, California. Genre: Indie Pop

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SongsSmiths
Music from the Front Line. Alternative Music, Pop/Rock, Indie Pop/Rock
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THIS IS OUR MUSIC: Throwing Muses – “Call Me”

THIS IS OUR MUSIC: Throwing Muses – “Call Me”.


“Call Me” opens Throwing Muses’ self-titled debut with a tightly wound post-punk throb, almost as if 4AD head Ivo Watts-Russell wanted to assure longtime fans of his label that just because Throwing Muses were American (from Providence, RI, to be exact), that didn’t mean they weren’t rooted in “the 4AD sound.”


However, after a couple of minutes’ worth of Leslie Langston’s churning bass and David Narcizo’s nervous, jumpy drumming underpinning the implacable jangle-strum and increasingly desperate and yelpy unison vocals of Kristin Hersh and Tanya Donelly, the song unexpectedly shifts into a surprisingly pretty waltz-time B section with sleigh bells and some chiming guitar work.


By the song’s end, a hint of the first half’s aggression has reappeared, but tamed by the gentleness of the tune’s new surroundings. “Call Me” is early evidence of Throwing Muses’ unique ability to subvert expectations and move gracefully in diverse directions.


Throwing Muses introduced a feminine sensibility that made a mockery of banal notions of Women In Rock. Over abruptly shifting guitar-chord patterns, Kristin Hersh, later diagnosed as manic-depressive, sang as if undergoing an exorcism or speaking in tongues.
.allmusic and uncut magazine


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THIS IS OUR MUSIC: Love and Rockets – “So alive”

THIS IS OUR MUSIC: Love and Rockets – “So alive”.


“So Alive” ranks as one of the best T. Rex homages ever created – the song have the same sly, understated kick of Marc Bolan at its best, where simplicity didn’t mean lack of quality in the slightest.


That the song ended up as a smash American hit must have taken the group more than a little by surprise, but in retrospect it’s easy to why it – with the help of an endlessly on MTV video that year – was such a monster.


Daniel Ash’s lyrics about an object of desire might not be the deepest ever written, but his seeming diffidence and sly purr, combines with a great chorus for great results.


The arrangement is as stripped-down as one could want aside from a gentle keyboard adding a bit of extra punctuation here and there, the three performers finding a good straight up delivery and sticking to it.


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LIVE SESSION: The Stranglers live at No Nukes 1982

LIVE SESSION: The Stranglers live at No Nukes 1982.


The Stranglers live at No Nukes, 9 april 1982, Irenehal Utrecht.
Dutch TV broadcast.


Songs: Baroque Bordello, Golden Brown, Nuclear Device, Genetix.


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LIVE SESSION: The Chameleons live at The Gallery, Manchester, England, December 18, 1982.

LIVE SESSION: The Chameleons live at The Gallery, Manchester, England, December 18, 1982.

 

The Gallery, Manchester, England
December 18, 1982

setlist
Paper Tigers
Nathan’s Phase
Don’t Fall
Pleasure and Pain
Here Today
In Shreds
Up the Down Escalator
Second Skin
Monkeyland
As High As You Can Go
Things I Wish I’d Said
View From a Hill

 

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PHOTO: Siouxsie Sioux and John McGeoch (Siouxsie And The Banshees)

PHOTO: Siouxsie Sioux and John McGeoch (Siouxsie And The Banshees) | SongsSmiths | Scoop.it

PHOTO: Siouxsie Sioux and John McGeoch (Siouxsie And The Banshees).

 

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PHOTO: The Jesus and Mary Chain

PHOTO: The Jesus and Mary Chain | SongsSmiths | Scoop.it

  PHOTO: The Jesus and Mary Chain.

 

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PHOTO: Bauhaus, live in Athens, Greece, 1983

PHOTO: Bauhaus, live in  Athens, Greece, 1983 | SongsSmiths | Scoop.it

PHOTO: Bauhaus, live in  Athens, Greece, 1983.

 

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PHOTO: Bauhaus, live in Athens, Greece, 1983

PHOTO: Bauhaus, live in  Athens, Greece, 1983 | SongsSmiths | Scoop.it

PHOTO: Bauhaus, live in  Athens, Greece, 1983.

 

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PHOTO: Penetration - Pauline Murray, 1977

PHOTO: Penetration -  Pauline Murray, 1977 | SongsSmiths | Scoop.it

PHOTO: Penetration -  Pauline Murray, 1977.

 

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PHOTO: Echo and the Bunnymen Ian McCulloch

PHOTO: Echo and the Bunnymen Ian McCulloch | SongsSmiths | Scoop.it

PHOTO: Echo and the Bunnymen Ian McCulloch.

 

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PHOTO: Ian Curtis, by Chris Mills

PHOTO: Ian Curtis, by Chris Mills | SongsSmiths | Scoop.it

PHOTO: Ian Curtis, by Chris Mills.

 

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THIS IS OUR MUSIC: The Sound – “I Can’t Escape Myself”.

THIS IS OUR MUSIC: The Sound – “I Can’t Escape Myself”.


Despite the production’s rough edges, the limited budget that fostered it, and the feeling that it sounds more like several A-sides and a couple decent B-sides thrown together than a singular body, Jeopardy (1980) is a caustic jolt of a debut that startles and fascinates.


With the plaintive intro of the rhythm section, a spidery guitar, and incidental synth wobbles, “I Can’t Escape Myself” begins the album unassumingly enough until reaching the terse, one-line chorus that echoes the title of the song; suddenly, from out of the blue, all the instruments make a quick, violent, collective stab and retreat back into the following verse as singer Adrian Borland catches his breath. The reverb placed on his voice is heightened at just the right moments to exacerbate the song’s claustrophobic slant.
.allmusic


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DOC: Siouxsie and the Banshees Scream Superstition MTV Special 1991.

DOC: Siouxsie and the Banshees Scream Superstition MTV Special 1991.


On the eve of the first Lollapalooza tour, MTV’s 120 Minutes catches up with Siouxsie and the Banshees, in the Arizona desert.


An hour-long Siouxsie and the Banshees special called “Scream Superstition” that aired on MTV’s “120 Minutes” in August 1991.


The Dave Kendall-intro’ed program mixes clips of old videos with a career-spanning interview of Siouxsie, Steven Severin and Budgie filmed in Phoenix, Ariz., while the band was there for the opening date of the inaugural Lollapalooza trek, a famously scorching tour stop.
.BY SLICING UP EYEBALLS


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THIS IS OUR MUSIC: Talking Heads – “This Must be the Place” (Naive Melody)

THIS IS OUR MUSIC: Talking Heads – “This Must be the Place” (Naive Melody).


Talking Heads “This Must be the Place (Naive Melody)” original music video (1982).


According to the Stop Making Sense commentary track, the title “Naive Melody” refers to the music. On the track, the guitar part and the bass part are doing the same thing throughout the whole song. According to David Byrne, many professional musicians would not play a song written in that fashion, and that is what makes the melody naive. Byrne played the lead keyboard solo.


“We jammed to create this song,” clarifies bassist Tina Weymouth in the liner notes of Once in a Lifetime: The Best of Talking Heads. “I played guitar (I don’t really know how to play anything, so it was all the same to me, whatever instrument I played); Chris (Frantz, drummer) played drums (no jam really got off the ground if anyone else tried to play them); Jerry played a Prophet keyboard, including the left-hand bass line; and David kept going between guitar and another Prophet keyboard, where he went wild with the pitch modulation wheel and campy piano glissandos. It was great and it was truly naive.”


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THIS IS OUR MUSIC: TenpoleTudor – “Swords Of A Thousand Men”

THIS IS OUR MUSIC: TenpoleTudor – “Swords Of A Thousand Men”.


Tenpole Tudor’s music is so defiantly silly and raucous that it would be easy to dismiss if it wasn’t quite so fun. Taking the punk aesthetic to an extreme, no one in Tenpole Tudor, particularly lead vocalist Eddie Tudor, can sing at all, so each song turns into a drunken, noisy singalong.


And most of these songs are singalongs, filled with rousing choruses, big hooks, and clattering chords that are messy and infectious. What’s surprising about the group’s debut album, “Eddie, Old Bob, Dick & Gary”, is how many flat-out excellent songs are on the record.


Combining ridiculous swords-and-sorcery imagery with laddish party anthems, nearly half of the record is invigorating, noisy rock & roll, like the boozy “Swords of a Thousand Men”.
.allmusic


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THIS IS OUR MUSIC: The Cure – “Hanging Garden”.

THIS IS OUR MUSIC: The Cure – “Hanging Garden”.
Through the early ’80s, Robert Smith split his time between fronting the Cure and playing guitar in Siouxsie & the Banshees, until he finally fully recommitted to the Cure when John McGeoch permanently joined the Banshees, shortly before the recording of Pornography.


Although Pornography is without question the Cure’s darkest album overall, it’s also the one on which the influence of Smith’s sideline job is most obviously felt. In particular, the urgent, thundering drums that underpin “The Hanging Garden” are clearly some sort of homage to Budgie, who provided very similar drum patterns to years’ worth of Siouxsie & the Banshees songs.


Similarly, Simon Gallup’s bass borrows something from Steve Severin’s insistent throb, and Smith’s own guitar is primarily used for drones and ornamentation, much as it was in the Banshees.


In the words of Robert Smith, regarding the album’s conception, “I had two choices at the time, which were either completely giving in or making a record of it and getting it out of me”. He also claims he “really thought that was it for the group. I had every intention of signing off. I wanted to make the ultimate ‘fuck off’ record, and then sign off”.


Smith was mentally exhausted during that period of time: “I was in a really depressed frame of mind between 1981 and 1982″. The band “had been touring for about 200 days a year and it all got a bit too much because there was never any time to do anything else“.


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PHOTO: PIL John Lydon, left, and Keith Levene in the United States, photograph Ebet Roberts, 1981

PHOTO: PIL John Lydon, left, and Keith Levene in the United States, photograph Ebet Roberts, 1981 | SongsSmiths | Scoop.it

PHOTO: PIL John Lydon, left, and Keith Levene in the United States, photograph Ebet Roberts, 1981.

 

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PHOTO: The Cramps performing at Georgetown‘s University’s Hall Of Nations 1979

PHOTO: The Cramps performing at Georgetown‘s University’s Hall Of Nations 1979 | SongsSmiths | Scoop.it

PHOTO: The Cramps performing at Georgetown‘s University’s Hall Of Nations 1979.

 

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PHOTO: Galaxie 500 at Leicester University - 1992 By Greg Neat

PHOTO: Galaxie 500 at Leicester University - 1992 By Greg Neat | SongsSmiths | Scoop.it

PHOTO: Galaxie 500 at Leicester University - 1992 By Greg Neat.

 

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PHOTO: Bauhaus, live in Athens, Greece, 1983

PHOTO: Bauhaus, live in  Athens, Greece, 1983 | SongsSmiths | Scoop.it

PHOTO: Bauhaus, live in  Athens, Greece, 1983.

 

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PHOTO: Penetration - Pauline Murray, 1977

PHOTO: Penetration -  Pauline Murray, 1977 | SongsSmiths | Scoop.it

PHOTO: Penetration -  Pauline Murray, 1977.

 

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PHOTO: DEVO’s guest appearance on ‘Square Pegs,’ 1983

PHOTO: DEVO’s guest appearance on ‘Square Pegs,’ 1983 | SongsSmiths | Scoop.it

PHOTO: DEVO’s guest appearance on ‘Square Pegs,’ 1983.

 

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MIXTAPE: Under the Radar #59 (14.06.2015)

MIXTAPE: Under the Radar #59 (14.06.2015).


Discovering the new indie & alternative pop rock music.


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THIS IS OUR MUSIC: Shop Assistants – “I Don’t Want To Be Friends With You”.

THIS IS OUR MUSIC: Shop Assistants – “I Don’t Want To Be Friends With You”.


Song from “Will Anything Happen” , the only album released by Shop Assistants. It was released in November 1986 on the Chrysalis Records ‘indie’ offshoot Blue Guitar. The album was critically acclaimed by Sounds staff that made ‘Shop Assistants’ in the list of top 50 best albums of 1986.


The album was described by Allmusic’s Jason Ankeny as “an essential artefact of its times”.


Shop Assistants were an indie pop band from Edinburgh, Scotland, formed in 1984, initially as Buba & The Shop Assistants. The original line-up was Aggi (Annabel Wright, later of The Pastels), on vocals, David Keegan (guitar), John Peutherer (bass), and Moray Crawford (drums).


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