Tracking hooters and hitters…..

 

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I’ve spend some of this week salted away in the Vendhaus (above), recording parts for two very different projects.

The first was a challenge from the grand maven of everything ’60s, Rosie Cunningham (in her Purson persona), to come up with some ‘Christmas party sax’ (with a dash of Wizzard) for a new Purson song, ‘Chocolate Money’.  I tracked tenor and baritone sax horn section lines and a bit of flapping about on the flootie during the bridge. Roll over, Roy Wood, and pass me that face paint.

The second project is for Chicago’s uber sludge-psychedelicist Steve Krakow (AKA Plastic Crimewave).  Steve asked both Bobbie and me to contribute to a song for a forthcoming album. Steve’s direction was to ‘do whatever’….so that’s what I’m doing. Tracks include Comus-darkened darabuka and ancient-skinned, rusty-jingled tambourine, vibes, tenor recorder, baritone sax and bass clarinet and possibly a further dash of flootie once Bobbie has recorded her vocal parts. I’m a right little Mike Oldfield on the quiet. Or perhaps that should be Roy Castle  😀  (look him up in Guinness’s book of famously fatuous and unnecessary ‘records’).

The Vendhaus vibraphone is a wooden framed 1920’s Premier set. Many moons ago – and long before I acquired it – the resonators would have been driven by a clockwork motor, now, alas, gone. So I suppose that it’s more of a straight metallophone now, lacking the characteristic woo-wooing of a properly tooled-up set of vibes.

Here to finish are a couple more shots of some of the denizens of the Vendhaus.

The Comus recording tambourine, as featured on ‘Out Of The Coma’. God only knows where I got it from. We are actually talking here about a tambourine with a deeply sinister sound…..very Hoxton shamen, I’m sure.

The non woo-wooing Premier vibes (and a pleasing pair of Beyer M201s).

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Red Square; bouncing back again….

It’s very nice to have a project from so long ago see the light of day again, especially as Red Square was – how shall I put it…? –  not widely appreciated at the time.

Through the good offices of uber-networker and ultra-psychedelicist, Steve Krakow (AKA Plastic Crimewave), Guerssen Records are releasing a selection of our 1970’s recordings under the title ‘Rare and Lost 70s Recordings’. It will be available in all known formats….well apart from 8 track, phonograph cylinder, DAT, mini-disc, cassette and shellac, of course…on April 13th, but you can get the digital download on Bandcamp and iTunes as of today.

You can pre-order vinyl or CD copies direct from Guerssen. The vinyl and CD covers will look something like this:

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…..and there’s a very natty promo video to whet the appetite on YouTube:

 

 

A playlist…….

Having recently found, to my surprise, that, between them, the tunes on my Soundcloud page have now had over 5000 plays, I had a look to see which of the tracks had been played the most.

I’ve now compiled a playlist of these (see below). There’s an interestingly heterogeneous mix of styles in the list from avant electro-acoustic, through free-jazz, to weird folk, EDM and anarcho-syndicalist situationism.

Nice to see Red Square, Miramar, the Colins of Paradise & Deathless all making the list…..!

I’ve played on all of the tunes, written or co-written a number of them and mixed and produced (or co-produced) all of them.

Skronkin’ with Werewheels

Last year, myself, Roger Wootton and Bobbie Watson from Comus, along with our sometime violin player, Dylan Bates, appeared at a gig for a Lush cosmetics launch event in London as Cominus (Bobbie’s wordplay: Comus minus some members – geddit..?). Also on the bill that evening were Chicago’s Werewheels. Consisting of Steve Krakow (AKA Plastic Crimewave) guitar & vocals, and Dawn Aquarius (analogue synth & vocals), Werewheels punk-splattered ‘why use two chords when one chord will do’ attitude to psychedelia results in mesmerising sonic worlds. Steve refers to this act as ‘skronkin’, and that seems apt. They asked me to join them on bass clarinet for the last number of the set, ‘Nuclear Winter’, and this was the resultant aural maelstrom. It was a bit like a Red Square gig, but with a regular beat. Note, if you will, the fifteen oil-wheel light show firing off around us……. SKRONKIN’!

‘Nuclear Winter’, including skronkin’ bass clarinet,  has since been committed to tape for release on an upcoming Werewheels album.