No Come Down is a nine-track compilation of early outtakes, b-sides and a live cut from The Verve. It was released in 1994 in the US to coincide with a spot on Lollapalooza second stage. This is a beautiful companion the the debut A Storm in Heaven.
The souring gorgeous melancholy of Where the Geese Go, is a gem. The lyrics are unintelligible, to give this an psychedelic analgesic effect. The opening lines of 6 O’Clock are, “Six o’clock and I’m wasted.’ Drug references have been apparent throughout The Verve’s career but this is there psychedelic period. Not tie dye clappy hippy psychedelia, this is like the band have been holed up with a sheet of black acid, powerful and disturbing.
The US mix of Blue lacks the the stirring vocals of the version on A Storm in Heaven and the whole mix seems a bit muddy and seriously lacks the clarity of the original. The stripped down version of Make It Till Monday is another standout track. The live version of Gravity Grave weighs in at ten minutes and is very intense. The album closes with meloncholic wistful Twilight. The opening bars of this track alway remind me of the music in ‘The Gallery’ which was in the childrens art tv show Take Hart in the late seventies and early eighties.
The Verve : No Come Down
No Come Down
Blue (USA Mix)
Make It ‘Til Monday (Acoustic)
Where The Geese Go
One Way To Go
Gravity Grave (Live Glastonbury 93)
Voted Single of the Week on Mark Radcliffe’s show on BBC Radio 1. The lead track is a delicate story of yearning and unrequited love, and one of the stand out tracks from the album Broken By Whispers. It was at this time they signed to Sub Pop for their album to gain a footing in North America.
There is a completely out-of-character moment in A Slender Wrist this is upbeat Beatleseque 60’s British invasion jangle. In Bob Wratten’s previous outfit The Field Mice there was much more experimentation with the likes of synth-pop showcased in their song Triangle, but with the ‘Stars he tended to stick to gossamer melodies about love dreamt about from afar.
Trembling Blue Stars : Dark Eyes
A Slender Wrist
Her World Beneath The Waves
Half In Love With Leaving
The third Swervedriver album had an unceremonious delivery into the world. When they presented the tapes to U.S. label A&M, they were told that they’d have to wait over a year to see it released. This was due to the labels busy schedule and other commitments. The band ended up split with the label. There UK label Creation released Ejector Seat Reservation but never really promoted the album. Creation made most of it’s money by licencing the band in the US and as they no longer had a stateside label there was not much point keeping them on. Creation dropped Swervedriver a week after the release of Ejector Seat Reservation.
The album is a psychedelic favoured Swervedriver with melodically driven tracks rather than the guitar effects heavy propulsion of the debut album Raise. They draw upon Raise for the inspiration for Son of a Jaguar ‘E’, but this a slow burning heavy track and not the cathartic desperate rush of Son of a Mustang Ford. How Does it Feel to Look Like Candy? Has the same vocal hook as Burt Bacharach’s Do You Know the Way to San Jose, a catch singalong chorus that deserved to be released as a single. The title track Ejector Seat Reservation is filled with psychedelic lyrics and the jangly steel guitars at the end add to the trippy feel as they sound similar to a sitar.
The album includes three untitled hidden tracks which were only available in the United Kingdom, these were later named.
Swervedriver : Ejector Seat Resevation
Single Finger Salute
Bring Me The Head Of The Fortune Teller
The Other Jesus
Son Of Jaguar ‘E’
I Am Superman
Ejector Seat Reservation
How Does It Feel To Look Like Candy?
Last Day On Earth
Plan 7 Star Satellite 10
[Unlisted – Silence]
The lead track from the ill-fated second album Mappamundi. The only single from the album, this version is the Stifled Aardvark CD EP edition. Other versions include live recordings of Comeuppance and Happenstance?
The most upbeat track on the album and obvious track to be the single, the rest of the EP is unmemorable and could have easily slotted into the rest of the listing in Mappamundi.
Thousand Yard Stare : Version of Me
Version Of Me (Edit)
Darkness Of Her Eyes
Version Of Me (Version Of)
A repost of the lost Dark Star album, which is now the 9 track version and not the previously posted 7 track. It is largely the stuff of fables and legends until it appeared via Soundcloud in 2011, 10 years after Dark Star called it a day. Listening to Zurich it is obvious that it was very close to being released, it just needed to be mastered, and then EMI lost interest. Some music journalists have theorized that because there is no standout single like Twenty Twenty Sound’s I am the Sun, was the main reason the album was shelved. I would disagree and personally feel that Perfectly Simple, 3 Seconds or Strangers and Madmen would have made great singles.
There is no real record if the album was just seven songs or even if it was going to be called Zurich, there are nine track versions written about but I have yet to find a copy. It is unmistakably Dark Star there are massive metal guitar riffs in Perfectly Simple and there is definitely a prog rock feel to songs such as Strangers and Madmen mainly because of the disregard for pop sensibilities. With such a limited backcatalogue it would be a great loss if this album never saw the light of day.
Dark Star : Zurich
Strangers And Madmen
Bigger Than Love
The Day That Never Was
Truckload Of Trouble is a compilation album by The Pastels, released in 1993. The album compiles songs from their early EPs and singles released between 1986 and 1993. This quite possibly is when the group was at its musical zenith. It is a dreamy discorded melody shambolic C86 experience with slurred vocals. This sound was influenced by The Smiths and the whole C86 punk ethos but would, in turn, influence My Bloody Valentine, Beat Happening, Belle and Sebastian, and a whole host of twee indie-pop acts. Borrowing a statement from allmusic, ‘a cohesive listen from start to finish.’
This is not a compilation of early singles to make a mini album like Ride’s Smile or Lush’s Gala. This is a whopper double album with 18 songs including, Baby Honey, Speedway Star, and Not Unloved are re-recorded versions as opposed to the original versions. This compilation is the third time they have recorded Baby Honey. The version of Crawl Babies is different from the that is included in Up for a Bit with The Pastels, it is longer, faster, and more upbeat.
The Pastels : Truckload of Trouble
Thank You For Being You
Thru’ Your Heart
Over My Shoulder
Truck Train Tractor
Nothing To Be Done
What You Said
Dark Side Of Your World
Sometimes I Think About You
Sign Across Me
The staple track from the Chapterhouse back catalogue, I did enjoy Falling Down more at the time but with 30 years of retrospect, Chapterhouse did shimmering delicate guitars better than dirty filthy wah. Pearl also cemented the NMEs view that shoegazing was ‘the scene that celebrated itself’. Rachel Goswell from Slowdive provides backing vocals although these are mainly ‘oohs’ and ‘ahhs’. Pearl does feature a beautiful propelled John Bonham inspired drum beat. The single version of Pearl does stand up better than the album version.
Come Heaven is a great track that was left off Rownderbowt, and it showcases Chapterhouse’s sensitive yet euphoric nature brilliantly.
Chaptehouse : Pearl
In My Arms
The debut flexi from the Leeds indie combo which was released in 1988. The blue flexi-disc was self-released and given away free with a Wakefield fanzine which cost 20p. It shows that they had much more in common with the Madchester scene than the Leeds indie scene which was mainly Cud and The Wedding Present. The b-side (although this is the second song on a single-sided flexi) Just Good Friends does sound like Northside with a trombone. It was the trombone that was the unique selling point and featured throughout their discography and set them apart from everyone else. Lastly, I have been sadly been unable to find a link between the track Just Good Friends and the sitcom of the same name starring Paul Nicholas that finished just two years previous in 1986.
The Bridewell Taxis : Lies
Just Good Friends
The fourth studio and wilderness album from the House of Love. Guy Chadwick recorded most of the guitar parts himself as lead guitarist Simon Mawby departed just before the album’s conception. This probably sped things up as the whole album was recorded in two weeks. Prior to the albums release drummer Pete Evans departed leaving Chadwick to promote the album by himself. The album was not toured due to lack of band members and the albums was poorly received. I do remember that a friend went to Great X-pectations Festival 1993 in Finsbury Park and said that Guy Chadwick did a solo set and there was quite a hostile audience.
The album is not the best House of Love album but it is still better than the vast majority of indie landfill that would be clogging up the charts at the time. Shining On is a pastiche to their biggest hit Shine On and 8 minute epic Into the Tunnel builds up and breaks into a glorious crescendo. The album had only one single which was Hollow which I personally feel did not showcase the sensitive appeal of the House of Love at all.
The House of Love : Audience with the Mind
Audience With The Mind
Portrait In Atlanta
All Night Long
Into The Tunnel
You’ve Got To Feel
The very last single from The Dylans and it was a great tune but unfortunately it was a busy happy track that harked back to the Madchester era and as it was released in 94 and everyone was into Britpop, drinking Gin and Tonic and feeling Supersonic. The single didn’t chart and they released Spirit Finger the following month in April 94. They called it a day shortly after.
The Dylans : I’ll Be Back to Haunt You
I’ll Be Back To Haunt You
Points = Prizes
Peace Bomb Baby