I took almost a year off from this website (or is it a “blog”?) for a number of reasons, many of them lost to the mists of time… Okay, yeah, it wasn’t really all that long ago but some of the reasons I have forgotten. Then I read of this lovely reissue, CAPTAIN SENSIBLE’s This Is Your Captain Speaking, and figured maybe it was time to revisit things. Let’s move on from questions of who’s to blame and finger pointing to more, uhhh, sensible things, shall we?
First released as a 7″ back in 1981, This Is Your Captain Speaking is a 3-song solo record that The Damned’s guitarist put together for the good lil’ anarchists at Crass Records. It was super hard to find here in the States (I didn’t actually learn of it until late ’82 or so) and the one I ended up with was pretty worn out already. It didn’t help that the record was cut at 33 rpm. What must have been at least somewhat interesting to the person who owned it before me was how Sensible combined his love of punk rock with his then not-so-documented love of psychedelic rock, pop rock and liberal politics. The A-side, “The Russians Are Coming,” is a diatribe about how big superpowers continually use scare tactics (like blame and finger pointing) to prime the pistons of their war machines. The backing vocalists sing “the Russians are coming” and Captain screams “it’s all I’ve ever heard!” and then again with “the Russians are coming” and Sensible’s retort, “I don’t believe a word.” Whether you believe it or not, folks, you may at least be old enough to remember hearing that refrain as a warning/threat/etc. when you were young. Here it’s set to a catchy melody that makes for a good political pop song.
On the EP’s B-side were two songs, not as strong but still quite good, starting with “(What D’Ya Give) The Man Who’s Gotten Everything?” a tune Sensible would re-record for his first A&M album, Women and Captains First, a year later. That tune could’ve just as well been recorded by The Damned, with its punkily humorous refrain. Then there’s “Oursouls to You” – an anti-religious hymn sung by an all-Captain choir – which starts and ends with found-sound dialog clearly nabbed from some radio or television program aimed at whatever kind of Christians were likely to be tuned in.
In one fell swoop – errrr, uhhh, 3-song volley – Captain Sensible took swipes at a trio of his biggest bugaboos: war, greed and religion. Or is that just one collective bugaboo? Whatever, the indie single was hard to find for years until last summer when Crass Records reissued it as a 12″ single via the much larger One Little Independent label. Being the kind of guy who’s usually tuned in to these kinds of releases, you’d think I would have been right on top of ordering this baby. Well… hey! Even I miss one now and again. Nevertheless, this 12″ was entirely worth the wait, as these tracks have not only never come out on CD but have never sounded this good. Cut at 45 rpm and wisely pressed on a big 12-inch, This Is Your Captain Speaking is available for purchase. Pass on it at your own peril. – Marsh Gooch
4.5/5 (Crass/One Little Independent 321984/SR, 2023)
Here are a few more RSD purchases we’ve felt the need to dissect. Please note that none of this was free – getting review copies just ain’t what it used to be! So, working from Z backwards…
THE ZOMBIES – Oddities & Extras (Varese Vintage VSD00020-05) – It’s hard to tell what songs have been on what Zombies compilations. Basically, they only released two actual albums, Begin Here and Odessey and Oracle, so everything else has likely been encountered either on the stellar 4CD Zombie Heaven box set from 1999 or on one of the countless comps that have made the rounds ever since a number of us decided that the band belonged in the same echelon as The Beatles, Stones, Kinks, Who et. al. I’m pretty familiar with just about all of the baker’s dozen songs here on Oddities & Extras, but being a near-completist I needed to add this to the collection. It’s a pleasant enough platter, especially with “She Does Everything for Me,” “Just Out of Reach” and the cover of “Goin’ Out of My Head,” but I can’t help feeling this may be surplus to my Zombies needs.
SUPER FURRY ANIMALS – Ice Hockey Hair EP (BMG CAT491EP) – A 4-song EP, pressed on unnecessarily 180-gram vinyl, this one also feels a little surplus… to my SFA needs, that is. Gotta say, though, that “Ice Hockey Hair” is a classic in the lush, semi- Britpop vein that the Furries embraced. Of the other three tracks, “Smokin’” is also good, “Let’s Quit Smoking” is a different arrangement of the former (basically), and “Mu-Tron” may just be an excuse for one of the SFA guitarists to use his so-named guitar effects pedal. Being a 12″ (as opposed to a full-on LP), this one is likely to stay shelved for awhile. Not because the song isn’t any good, but because it also appears on the “greatest hits” album, Songbook (The Singles, Vol. 1).
THE KINKS – Percy (BMG CAT488LP) – I’m kinda scratching my head on this one… I get that any album from the Lola-era Kinks is worth reissuing, but why – oh why?! – did they make it a picture disc? This isn’t a typical album from the band, being a soundtrack to a seldom seen 1971 comedy film, with some instrumentals, a “Lola” blues jam and the like, so maybe they decided to have a little fun with it. I mean, one side of the picture disc is a closeup of the image on the front cover, as in, the cartoon man’s groin covered by a big leaf. (The other side is the full cover image.) To be fair, this pic disc is pressed on extra thick vinyl so it actually sounds pretty good. And let’s not forget: This isn’t exactly a proper Kinks album, so you’re not likely to take Percy for a spin very often. It’ll probably stand up to the half dozen plays you’re likely to give it. The textured cover is a nice touch (replicating the original), too.
THE FLAMING LIPS – The Soft Bulletin Companion (Warner 093624885016) – With most of the tracks “Soft Bulletin outtakes, stereo versions of Zaireeka tracks and unreleased songs from the era,” this Companion – a 2LP vinyl representation of a 1999 promo CD – is nice in a humble kind of way. Granted, these days I find myself mimicking Wayne Coyne’s high-pitched, practically falsetto singing voice (“when you got that spider bite on your arm”), but there are some good songs here, and I am very much a fan of this era of the Lips. So, its presentation is fitting: as if it were a generic white album cover, with black and white stickers slapped on the front and back, a coffee stain here, a pen mark there; the colored vinyl itself is silver and the labels are of the “promo copy” variety. There’s scant info about the tracks themselves, but I have faith that most Flaming Lips fans will be aware of their pedigree. The cover of Skip Spence’s “Little Hands” is certainly more tolerable (even pleasant) than the songwriter’s own version. – Marsh Gooch
I picked up nearly two handfuls of vinyl for Record Store Day 2021 (first drop) and decided to “review” them, in a pair of parts, based on my initial impressions. It’s a fact that many of the items we pick up for RSD get played once and then filed away, likely to never be pulled from the shelf again. That’ll be great for resale one day – maybe – but it’s certainly not the way you wanna tie up your record money if you can help it. On the other hand, some gems only come to reveal their beauty further on down the road, so… I don’t know… Ah, let’s just get going.
TOM PETTY & THE HEARTBREAKERS – Angel Dream (Warner Records 093624882312) – Sort of a companion to last year’s Wildflowers extravaganza, Angel Dream is a “reimagining” of the songs Petty and crew did for the movie, She’s the One. I don’t know if anyone remembers the movie (I don’t) but the songs are memorable. In some ways they share a lot of the vibe of Wildflowers, kind of laid back, but there’s a lightheartedness with these tunes that doesn’t surface in the others, quite likely due to the fact that they were written to accompany a film. I wouldn’t hold this one up to Petty’s greatest albums (Wildflowers is one), but it’s got a charm to it that’s hard to deny. Together with Wildflowers and Finding Wallflowers (a 2LP set of Disc 4 of last year’s heaping helping of Tom’s hospitality), Angel Dream is one purchase you would listen to again.
ELTON JOHN – Regimental Sgt. Zippo (Rocket/UMe RSDRSZ2021) – This one’s really out of left field! Yeah, if you’re trying to guess by the album cover, you’re right: it’s a psychedelic EJ album that was never released. Recorded in early 1968 at DJM Studio in London (home of Elton’s record label in the UK), it’s Elton and Bernie Taupin in their salad days, taking a break from trying to find their own voice and instead working up some groovy, of-the-moment (but now fairly aged) psych-pop. Surprisingly, the arrangements are much more fleshed out than I was expecting, sounding very much like a serious attempt to write an album’s worth of tunes good enough to release. And they are/were! Why this wasn’t put out until now is a good question, and probably even Sir Elton doesn’t quite remember. But at this point in his career – and after most of these songs made their debut on last year’s Jewel Box set – it makes sense to put out a vinyl relic of what Elton & Bernie were spending their time on while still wearing creative short pants. The songs are certainly on the derivative side but they’re fun to listen to, making Sgt. Zippo a nice one to reach for when you’re in the mood for something different. And I like the play on Elton’s given name, too.
TOOTS & THE MAYTALS – Funky Kingston (Get On Down/Island GET54103-LP) – This is one of the greatest reggae albums of the ’70s, even if this particular configuration isn’t the same as its original Jamaican counterpart. Funky Kingston, as it has been since its first international release, is mostly that original issue, with a few tracks brought over from another album and “Pressure Drop” ported over from a ’69 single. Whether or not you consider this a proper album or a compilation, you can’t dispute that this may have been Toots’ peak as an artist. I would’ve liked them to do a 2LP set containing the original Funky, with the extra tracks they swapped in from In the Dark, and whatever else would’ve made sense. But, I guess for that there’s always my Very Best Of… CD, not to mention a host of other compilations still available.
FLAMIN’ GROOVIES – I’ll Have A… Bucket of Brains (Parlophone 0190295104139) – It may have gotten its name from an obscure Welsh beer, but this record’s got the Groovies’ best known song on it, “Shake Some Action,” a stone cold klassic that you should crank anytime you get a chance. This little 10″ mini LP, “The Original 1972 Rockfield Recordings for U.A.,” contains seven songs the San Francisco band did with nascent producer Dave Edmunds for the UK wing of United Artists. UA released a couple of the band’s rock ’n’ roll singles at the time but they were (at least in hindsight) doomed to fail, being released during Britain’s glam rock craze. Yet “Shake Some Action” eventually became a touchstone of power pop and more bands have been influenced by it than probably even know it. Here, Bucket of Brains provides the single version and the original recording at its slightly slower speed (in a 1995 mix) that reveals more of what makes it so damn good. Plus, there’s a killer version of “Tallahassee Lassie” (crushes Freddy Cannon’s original like a grape!) and their other klassic cruncher, “Slow Death.” This was only available as a UK CD (and under a couple of other names in other countries) mostly in the mid ’90s. As a 10″ it is the perfect vinyl artefact. If this doesn’t help you bust out at full speed, then I don’t know what you need… to make it alright! – Marsh Gooch
NICK LOWE has latched onto a new way of making records in the last few years, and it’s a method that suits him. Instead of waiting until he’s got an LP’s worth of tunes, Basher has been releasing EPs of whatever he deems ready to record. Love Starvation/Trombone is his latest, another 4-song affair recorded with Los Straitjackets and released by his American label Yep Roc.
What’s great to hear is that Lowe has also landed on the perfect latter-day band to collaborate with. Los Straitjackets, those guys with the gimmicky Mexican wrestler masks, provide an expertly empathetic two guitars, bass and drums backing to Nick’s rockabilly tinged pop tunes. They’ve now appeared as his band on a couple of Christmas records and last year’s Tokyo Bay EP. Like those efforts, there’s nothing too slick or too raw here, unless you count the studio-enhanced “horn section” on “Trombone,” the co-title tune that features a ’60s almost-Tijuana Brass arrangement. “Love Starvation” itself is a typically Nick mid tempo rocker with some witty words, while “Blue on Blue” is a sleeper of a slower “blues” song, with some of his greatest, latest lyrics, like “I can’t sleep for all the promises you don’t keep / I wanna run but I’m in too deep, too deep for blue on blue” and “In my mind I’m on the end of a ball of twine / that she jerks from time to time, time for blue on blue.” Finally, “Raincoat in the River” is a cover of an obscure 1960 Sammy Turner tune (produced by Phil Spector, later covered by Rick Nelson) that nicely defies its title with a happy story of a guy whose gal is coming back to him. The song really fits with the other three original Nick Lowe-penned songs, which is no surprise because that’s a skill that the man has had for decades, dating back to his days in Brinsley Schwarz and later with Dave Edmunds in Rockpile.
There’s no telling whether the tracks from this Love Starvation EP and the aforementioned Tokyo Bay will turn up on a long player, but it would be a pretty safe bet. I’m sure Lowe and the ’Jackets have either recorded more than what they’ve let out or they’re cooking up more tasty treats while they tour the UK and US this summer.
Note: I started this article with a great idea and the best intentions. While wrapping it up I discovered some info that, had I known it at the outset, would have greatly changed this story. More about that at the end…
If I didn’t know any better, I’d think SHERIFF JACK came to me in some fever-crazed dream. Nobody seems to know who or what he/she/it is, there’s basically nothing about him/her/it on the internet (no web page, entries on music blogs and sites, etc.), so he/she/it might just be a figment of my frazzled imagination. But: I have all four record releases (I know of) that were issued under the name, and I know I’m not making it/her/him up. So, you’ll just have to believe me and read on – or move along to something easier to digest.
Let’s go back thirty plus years to 1986, for it is then that Jack shows up for the first time on record at the Seattle college radio station (KCMU, now KEXP) where I once DJed. Supposedly Sheriff Jack’s first release, a 12″ EP called Let’s Be Nonchalant duly enters the station’s current releases bin. Four songs are on it, including such bizarre titles as “Buy Everybody a Cake” and “Buttered Slice of Democracy,” so naturally yours truly (a sucker for oddball song titles) needed to know more. And it was – and is – difficult to describe. It sounds slightly power pop or new wave, in the guitar-driven sense, but with just enough of that mid ’80s snare-in-your-face on it to be slightly distracting. That, and the guy sort of sing-yelling the lyrics. The record was produced by Pat Collier, who was known at the time for his work with Robyn Hitchcock and The Soft Boys, and as a member of the band The Vibrators (“Baby, Baby”). And the release came out on Midnight Music, which had also released Hitchcock and Soft Boys records. Kinda mysterious in those pre-internet days, and try as I could, I couldn’t figure out who this Sheriff Jack was. But, being in my early 20s and easily distracted, I bought the record but shelved it and the info search and moved on.
A few months later, out comes a full-length album, Laugh Yourself Awake. Where the first release had the tiniest amount of credits on it, this record had all kinds of credits but some of them seemed made up. Ever heard of a guy named Ted Aerialcruise who plays trumpet? Well, he’s on these two records (and the next one). The album itself carried on with the hard-power-pop yet very British tunes, this time with titles like “Bird-Oh!” (super slicing guitars) and “Cock Anne at Marjorie’s Door,” and even a cover of Big Star’s classic, “Back of a Car.” BUT… this time we get a slight biographical bit about Jack: “This stuff written, arranged, played and sung entirely by a bipedal humanoid known as Sheriff Jack… recorded in Alaska.” Well, I knew that “Alaska” was actually a recording studio in England, frequented by – you guessed it – Hitchcock, The Soft Boys and producer Collier (credited this time with “knobtwiddling deluxe; high-gloss finish”). There was a management contact phone number on the cover, but calling across the Atlantic just to find out who these people were was neither doable nor affordable then. Again, I enjoyed the eccentric English (I assumed) college rock (as we loosely classified anything without a solid genre description attached to it). The weirdo subject matter continued, the slightly yelled/sung vocals did, too, and the altogether unique guitar sound of Sheriff Jack continued to delight me and (hopefully) whoever heard it via the radio station.
Another few months later, the same performer/ producer/label team turned out a 4-song EP entitled Everybody Twist, which featured the title song (from Laugh Yourself Awake) and three more oddities (“Bold 3,” “Values for Your Culture” and “Something Cold”). Some sort of life form named Uncle Beastie sang “Something Cold,” a dirgey tune with a lower register lead vocal that comes off as fairly ominous; aside from this one, the EP is really an extension of Laugh Yourself Awake. I added this record to my Sheriff Jack collection thinking that maybe, if he/she/it/they put out further records, eventually some solid facts would emerge. Or I’d move on to some other obsession.
Then, in October 1987 another Sheriff Jack album appeared, the cleverly titled What Lovely Melodies! I know the date because the copy I bought locally HAD A PRESS RELEASE BIO IN IT. Thanks to whoever was sent a promo copy and sold it right away with the bio still inside! That press release details previous and current Sheriff Jack records as well as their release dates and catalog numbers. And! FICTITIOUS BIO INFORMATION. Shit! I’m sure ol’ Jack wasn’t really “the prodigy son of an Alabama hobo” or that he was the “ex-leader of Iceland’s leading protopunk garage loonies The Icebreakers.” I get that they wanted to keep Jack’s identity a secret, but how long could they keep up such a ruse?
The bio writer did do a pretty good job of describing SJ’s sound: “[It includes] all manner of aural perversion from sick and silly little songs to gruesome guitar meltdowns… It’s all here, fine pop music with a left-field twist to spice it up.” Okay, we can work with that. “Can’t Resist a Melody,” the ostensible title track, takes another crack at it: “What lovely melodies! / And they’re driving me CRAZY / Though I know what I’m doing is sinful / But I do it anyway ’cause I’m really odd…” The sound on this record expanded to include some slightly R&B and even vaudeville tunes among the quintessential Jack palette. Did I mention some of the other titles? “Pink Ducks”? “Dada Art Attack” (“it’s like riding a horse in a cul-de-sac”)? “The Buddha with the Runny Nose”? Okay, there you go.
As far as I know, that was Sheriff Jack’s last gasp. Well, it’s now September 2017 and I have no further information about him. But somewhere in the back of my head, as I was finishing this little exercise in demon-exorcising and seeming futility, I hear, Marsh, did you try EVERYTHING? Wait a minute… we have Discogs now! Type in Sheriff Jack and you get an entry listing an alias of Lewis Taylor. Turns out this guy was once part of the Edgar Broughton Band (late ’60s/early ’70s UK semi-prog rock) and, after his tour of duty as Sheriff Jack, put out records under his own name. Well, I’ll be. Read further and you’ll see that Taylor later changed his name to Andrew Taylor (ahem, do you remember a character from ’60s US television, who was a sheriff, named Andy Taylor??) and has played bass under that name with Gnarls Barkley.
I’m sorta speechless.
At this point, all I can say is: I’m going to attempt to reach Mr. Andrew “Sheriff Jack” Taylor and see about getting an interview with him. This time, as my trusty sidekick, I will have the internet to help me track him down.
4/5 (Let’s Be Nonchalant, Midnight Music DONG 20, 1986), 4.5/5 (Laugh Yourself Awake, Midnight Music CHIME 00.21 S, 1986), 4/5 (Everybody Twist, Midnight Music DONG 29, 1987), 3.5/5 (What Lovely Melodies!, Midnight Music CHIME 00.34 S, 1987)
You can hear Laugh Yourself Awake on Spotify. However, I don’t have an account so I can’t check to see if it’s still up.
Another Record Store Day release, and one that was heavily anticipated and criticized, BOWPROMO is a box set version of a DAVID BOWIE rarity. What was once upon a time a promotional record with one side dedicated to rough mixes of tunes that mostly ended up on Hunky Dory, this RSD version features half of that record along with era ephemera included in a nice little clamshell box. Let me clarify.
I say “half” a record because the original promo was dedicated to two artists, Bowie and a female singer named Dana Gillespie. A management stablemate of Bowie’s, her songs comprised the other side of the record, which was sent out to drum up interest in GEM Management’s two artists. For this release Gillespie’s songs – her side of the record – were removed, so we have a one-sided 12″ with half an album’s worth of prime David Bowie. The mixes of these songs are different from what ended up being officially released (five of the seven tracks ended up on 1971’s Hunky Dory), and are therefore officially interesting to Bowiephiles around the world. The mixes’ original master hasn’t survived into the 2000s and so these were culled from an actual pressing of the promo – and they sound quite good. In fact, listening to these songs, which include “Oh! You Pretty Things,” “Kooks” and “Queen Bitch,” makes me want to give Hunky Dory another try. I have a copy somewhere (I believe the Virgin CD reissue), but as the latest batch of Bowie vinyl reissues has been so good (I never got a chance to review Diamond Dogs, but it’s a stunner!) I may just have to pick it up on record. I can tell you that all of the songs here are epic, including “It Ain’t Easy,” which is muscular as hell, and “Bombers,” which finally saw release on the Rykodisc CD version of HD.
Packaging on BOWPROMO is first-rate – as it should be, considering the pretty penny they charged for it. Picked up for fifty bucks locally, the release comes in a thin box that houses the one-sided 12″ (nothing pressed on the other side) which comes in its own cover sheathed in green wrapping paper, plus a manila envelope with color photos of our boy-ie, and a press release-style printout detailing the differences in these mixes from their official released versions, as well as info on the original promo release. Many have complained online about the fact that there are only seven songs here, but this presentation is worth the $50 I got it for. Whether it’s worth more or less depends on you, more or less. One might consider the old adage “a fool and his money are soon parted,” as one person did on one of the music blogs I read, but who’s to say what constitutes a fool-ish action? If I think it’s worth what I paid, then you are a fool to consider me a fool. (And I’m dying to finish this with “And I pity the fool!”)
Record Store Day 2017 brought with it a plethora of pleasing platters and the first one I’m writing about is this PINK FLOYD 12″ single. Yes, it’s a single of one of the band’s earliest works, “Interstellar Overdrive”. This isn’t, though, the studio version you’ve thrilled to on their debut album, The Piper at the Gates of Dawn, but an earlier recording that has never seen the light of day (on vinyl) until now.
Recorded in late 1966 in a studio in Hertfordshire, England, this 15 minute take has much to offer. Take its sheer length: I can’t think of too many bands that were doing quarter-hour songs at that point, which may be why the original, official release was shaved to under ten minutes. Yet, the fifteen minutes gives the band even more room than usual to stretch out. Syd Barrett gets to wail on his Telecaster, slipping in and out of lockstep with bassist Roger Waters and drummer Nick Mason, while keyboardist Richard Wright plays some seriously demented organ pads full of distortion and contortion. Chaos reigns supreme! Also, the instrumental song’s “chorus”, the descending chord progression that anchors the song, is played to a curious drum beat – seemingly taken directly from Nancy Sinatra’s “These Boots Are Made for Walking”! I’m not kidding. The backbeat played by Mason is just like that boom-ba-boom, boom-ba-boom pattern we all know and love.
Package-wise, this is mostly a winner. The record comes in a nicely designed Hipgnosis cover, complete with printed inner sleeve, poster and postcard showing the Floyd in a saturated, black and white photo taken by Irene Winsby for Melody Maker. The only con? Well, it’s a one-sided record. I mean that literally. There’s nothing on the flipside except smooth, black vinyl, completely unladen by any sort of a groove. Isn’t it just like Pink Floyd? Wasting an entire side of 12″ vinyl. On the other hand, arty types that they are/were, they give us a poster and postcard we aren’t likely to actually use (why, that would decrease the release’s value, RSD dorks!) just because they can. And I kinda like that. After side one’s blistering 14:57, you see, there’s not much you can follow it with.
4/5 (Pink Floyd Records)
The following video (assuming it’s still up) is from a documentary by Syd Barrett buddy Anthony Stern, purportedly the first use of the 14:57 take of “Interstellar Overdrive” on the above-reviewed release. There’s more information on this recording here.
There are so many PAUL McCARTNEY fans who’ll buy whatever the man puts out – and then bitch about what a ripoff it is, or how he could’ve been more generous with the bonus tracks or yadda yadda yadda! Truth is, I’m pretty glad he bothers to put out anything at all. I haven’t bought everything that’s come out (news to my wife!), and I’m a bit behind on getting the releases I do want, but his new releases are still something I look forward to. Some are hits, some are misses…
1985 is a new single that is based on the 1973 song, “Nineteen Hundred and Eighty Five,” which was the final track on the legendary Band on the Run album. Remixed by Timo Maas & James Teej, 1985 is a 12″ single or download (which I’m basing my review on; the physical release isn’t available until 5/27) that was first released a couple months ago as a white label promo (limited to 300 copies, see image below). They were real sly about the artist credit but these days trying to keep something a secret is a losing battle; the word was out that it was a Macca-sanctioned release within moments. Super Deluxe Edition reported, “They [Maas & Teej] clearly utilise stems from the original multi-track, meaning that this can only have been created with McCartney’s cooperation,” (SDE’s original post here) and that must be the case because there’s no way someone could have remixed the track to this degree without having the original multitrack files to work from.
I think 1985 is pretty cool. The Radio Edit version is concise, taking most of the strengths of the McCartney & Wings track and creating an imaginative remix. The piano track is practically a no-show, though, so the tune is carried more by Macca’s bass line. The Club Mix and Remix versions are longer, naturally, than the “edit” and approach the subject from different directions; I prefer the Remix for listening though both versions are fairly similar.
McCartney’s been a fan of the electronica for a long time – he quietly released his first stab at it, credited as The Fireman, in 1991 – so it’s not a case of “Hey, that old guy’s trying to be hip by proving he’s into the latest thing. Isn’t he adorable?!” Since then he’s done two more Fireman releases (all of which were created with his buddy, Youth) and a 2LP remix item titled Twin Freaks in collaboration with Freelance Hellraiser in 2005. If you’re not a fan of the remix, or of the way they mashed up The Beatles on the Love project for Cirque de Soleil, you may not like 1985. But since the download is only three bucks, you could easily get a preview of the tracks before plunking down the money for the 12″. I’m grateful that my favorite musician of all time is still with us, treating us to sometimes old, sometimes new, sometimes borrowed or blue versions of the music I grew up with. I can’t imagine a world without Paul.
Though I bet my wife can…
Here’s a clip of Wings in 1974 doing “Nineteen Hundred and Eighty Five” from the longform film One Hand Clapping, which wasn’t released until the super deluxe Band On The Run reissue in 2010.