Descargas gratis de material raro de él Records

http://01fragments.blogspot.com/search/label/Label%20-%20el%20Records

Marden Hill

Marden Hill - el label Discography.

7 Curtain/Let’s Make Shane & Mackenzie (Gpo 18) 11-86
7 Robe/Hangman (Gpo 30) 10-87
10 Oh Constance/The Execution Of Emperor Maximillian/
Bar Room Fly (Gpo 36t) 03-88
LP Cadaquez (El - Acme 13)
Masque/Oh Constance/Robe/Anthem/What All The Fuss About?/
Bacchus Is Back/Curtain/Satellite/The Execution Of Emperor
Maxillian/South From Paris/Constance from Cadaquez/Bar Room
Fly/Citadel.
Tracks on original el Compliations :
LP V/A "London Pavilion" (El - Acme 7)
- Marden Hill track = "Curtain"
LP V/A "London Pavilion Volume 2" (El - Acme 10)
- Marden Hill track = "Masque"
LP V/A "Resist (if you can) the lure of Girl Talk" (El - Acme 20)
- Marden Hill track = "Curtain"
LP V/A "London Pavilion Volume 3" (El - Acme 21)
- Marden Hill track = "Satellite"

"Yeah, the album is pretty cheerful. Mike told us to go into the studio and think Top Cat and obviously it's hard to be miserable with that idea in our head."
(Undergound magazine)

"I hate the word pretension but there is pretence there - for instance, in that we're pretending to be a group." Sounds, April 30 1988

el records is delighted to announce the re-issue of one of their most important original classics, "Cadaquez" by Marden Hill which will now be available on compact disc and in a highly desirable digipak format for the first time. Marden Hill were, along with Would Be Goods, Bad Dream Fancy Dress and The King Of Luxembourg, one of the mainstays of el records; an artifactual pop art group created to simulate the sensual sixties styles of Ennio Morricone, Sergio Leone, Piero Piccioni and Nico Fidenco.

él's finest hour, without a doubt...

"December 1986, Rooster 2 studio, we have just finished editing The King of Luxemburg's "Royal Bastard" album, after 3 weeks of mindless laughter, drinking and singing. Everybody's there: Simon, Richard Preston, Anthony Adverse, Momus, Colin Lloyd Tucker, Lindy and Amanda of the Go-Betweens. There are bottles everywhere; we're young, proud, and ready to take on the world. El's finest hour, without a doubt..."

(Louis Philipe)

En las fotos,The King Of Luxembourg y Louis Philippe

Pre East Village: Episode Four

Sólo grabaron un ep en ¡Lenin & McCarthy Records! y después ya se reciclaron en East Village. Su único ep tiene una joya pop llamada "Why" y suenan igual que East Village. Leí en Fire Escape Talking que ebay se subastaba a 400 libras hace un par de años aunque Harvey Williams afirmaba que dudba mucho de que alguien pagase esa cifra: "This will never sell.You remember that copy of Hotrod Hotel that sold a year or so back for somewhere in the region of $400? A copy recently went for a mere £21. Ebay: it's an entertaining place but you wouldn't want to live there"

Los favoritos de Morrissey en 1986 (NME)

¡The June Brides mejor grupo!
¡The Shop Assistants mejor single!
¡Stephen Duffy "best dressed sleeve"!

Los primeros tiempos de Everything But The Girl

El clip pertenece al recopilatorio "Pillows and Prayers" y la canción -"On My Mind"- la compuso originalmente Tracey para The Marine Girls, aunque esta versión es infinitamente mejor. Estaba en la cara B de "Night & Day". Un single glorioso.

"every day is just another day without you"

The Servants (1ª Parte) - "She´s Always Hiding"

Marzo de 1986. Recuerdo perfectamente como comenzó Rafael Abitbol su Rock 3. Y lo recuerdo porque durante un montón de años tuve una cassette en la que el Abitbol completamente entusiasmado comenzaba su programa con "el nuevo single de la semana, el debut de The Servaaaaants". Y no ha sido hasta hace unos pocos años cuando por fin conseguí oir la canción al completo (la tenía "chafada" con su postpresentación: "esto es el single de la semana en el NME") cuando Cherry Red reeditó sus obras cuasi-completas. Luke Haines (ver The Servants 3ª parte) la define como "a disarming coupling of Dusty in Memphis with Davy Graham guitars". Yo llegaré igual de lejos y la definiré como el "Pale Blue Eyes" del C86.
Fue también el debut del breve sello Head Records, dirigido por Jeff Barrett (hoy Heavenly Records). Un sello fugaz para una banda fugaz. Así se escriben las pequeñas historias del gran pop

The Servants (2ª Parte) - "The Sun a Small Star"

Este es probablemente el single de más éxito de The Servants (el seleccionado para el recopilatorio CD86). He colgado una grabación de youtube que refleja muy bien la época. El sonido y la calidad de la imagen es muy deficiente (y el remate del clip lo proporciona los gallos de David Westlake,el cantante...) pero se aprecia lo underground de estos grupos que apenas si llegaban a tocar en salas grandes (sólo cuando hacían de teloneros) y si en clubs diminutos que parecían más bien habitaciones o salas de estar... Eso sí, los fanzines, los programas de radio especializados y determinados djs (esta canción recuerdo haberla escuchado en Barraca Bar), les daban mucha cancha. Por cierto, atención a los créditos: ¡Amanda Brown al violín!

The Servants (3ª parte)

Estos dos páginas están sacadas del libreto que escribió Luke Haines sobre ellos en el recopilatorio que editó hace poco Cherry Red titulado "Reserved". He seleccionado estas dos porque Haines habla sobre la etapa del grupo durante 1986, la mejor para mi gusto ya que tanto la carrera en solitario de David Westlake como la etapa art-rock del grupo con Fire Records (y ya con Luke Haines en la banda), me interesan menos

Virna Lindt

Definitivamente ella no sabía cantar (ver clip ¡en vivo! en youtube) pero eso era lo de menos porque para eso estaban los estudios de grabación y el equipo que había detrás. Y es que el producto que creó Tot Taylor estuvo muy logrado. "Ha aprendido inglés (en teoría es sueca) viendo películas de Katherine Hepburn y escuchando discos de The Beatles..." decía le texto de "Shiver"... Ella era "La Espía que surgió del frío" y a eso jugaron.

Vic Godard: "Swing is Back (Again)" by Dave McCullough (Sounds 28-06-1980)

la conjura de las danzas - backstage 1988

The Border Boys & The Arcadians; los comienzos de Louis Philippe

No conocía estas dos formaciones en las que figuró Louis Philippe y me ha gustado mucho "It´s a Mad, mad World" de The Arcadians (reeditado luego bajo el nombre de Louis Philippe - "Let´s Pretend")

Sabrosas también estas declaraciones del francés acerca de aquellos tiempos:

Tell us how you began in music. Legend has it that you were a Philosophy teacher, when and why did you decide to be a musician?

The “legend” is correct. I graduated from the Ecole Normale Supérieure (philosophy section) in the early eighties, just as I was starting to develop an interest in writing my own songs. Once I was hooked – after briefly playing bass in a band doing Remains covers (!) – there was no turning back. I completed my PhD., and went to Brussels, where Crépuscule had offered me a recording contract.

Did you receive any kind of music lessons? Describe your first contacts
with the music world.

I was taught classical flute from 11-14; otherwise, I am entirely self-taught. But I have bathed in music since I was very, very young. One of the earliest pictures of me (1961!, good grief) shows me at the grand piano which occupied much of the sitting-room of my mother’s family house in Vichy. She’d been a keen harpist – and pianist, and played music non-stop at home, mostly classical and, especially, jazz. And Michel Legrand!

Tell us about your first band, the Border Boys, how would you describe
that first approach to pop music?

The BB’s were supposed to be a power-pop band, a bit like the Rubinoos, which is why I’d teamed up with a straight r’n’b guitarist, Jean-François Champollion (a direct descendant of the archeologist, by the way). But “pop” was the key word from the very first demo we recorded together – an emphasis on strong tunes, with a tight beat (I loved Paul Collins, then, and still do)…But I was still unsure as to where this would lead me. I now realise that I knew it (as proven by the subsequent albums), but that I lacked the will power to impose my views, my aesthetics if you will, upon my collaborator(s). Breaking up the BB’s, then the Arcadians, was one of the most traumatic things I ever did.

After launching the legendary Border Boys' Tribute EP you worked as a cook in Brussels, where does that liking? What is your specialty dish as a chef?

I cooked a mean “quenelles” at the time…not that easy to achieve the right consistency, let me tell you. For non-French, “quenelles” are a type of dumpling made with poultry or fish (pike, in particular), which are seasoned, folded with beaten eggwhites, and lightly poached in a – not-too-strong – court-bouillon

How were the Arcadians formed? Were they the same components as the Border Boys?

The Arcadians were basically the BB’s Mark II. The musicians – JF Champollion, Philippe David, Jacques Delorenzi, Eric Weil – were the same. The change of name reflected the shift from power-pop to a more “pastoral” approach to the arrangements, which themselves reflected the changes I’d been through as a songwriter – and, more importantly, as a young man.

You have told that Les Disques du Crepuscule did not show much interest in the Arcadians' recordings. How would you describe, in hindsight, your stay in Michel Duval's record label and what is your opinion today of the peculiar Crepuscule style?

Crépuscule did not have a style, but a look, mostly the creation of Benoit Hennebert, an abolute genius of a designer. If you actually listen to all the bands who were on the label during its golden age – the beginning of the eighties – you’ll realise how diverse they were. Contrary to what’s been written about the label, not all of us, far from it in fact, were “arty” musicians. Paul Haig wasn’t, neither were Mikado or Antena, or myself for that matter. But there was very strong sense of community – not surprising in a big village like Brussels – and a feeling that we were doing things that other labels wouldn’t let us do. In some cases, they’d have been right! But yes, Crépuscule was “peculiar” – in the sense that the records were dressed impeccably, elegantly, thanks to – again – the vision of Benoit Hennebert.

What are your best memories of those first years in pop music?

One experience towers above them all: listening to the playback of “Tribute” with Andy Paley in Daylight Studio’s booth. I cried my eyes out, and knew from that moment, that there was nothing, absolutely nothing that I wanted more than to do this forever. The studio is my greatest friend, always wil be.

Postcard - Discografía Completa y documental sobre The Sound Of Young Scotland

Me he encontrado un myspace sobre Postcard Records (no oficial-www.myspace.com/postcardrecords) con la discografía completa de Postcard. Las fotos están sacadas del blogspot the sound of Young Scotland

Por cierto, en youtube hay algunos minutos de un documental que se emitió sobre The Sound of Young Scotland:

COMPLETE DISCOGRAPHY


DISCOGRAPHY 1980 - 1981

7" - Orange Juice - Falling and laughing/Moscow/Moscow olympics (80-0) 1980
(royal blue labels, early copies came with free I wish I was a postcard flexi and white and blue drumming cat logo postcard)

LP - Josef K - Sorry for laughing (80-1) 1980 unreleased
(approximately 20 white label copies in existence less than 10 of which have proof sleeves which are different to The only fun in town sleeve)

7" - Orange Juice - Blueboy/Lovesick (80-2) 1980
(first pressing came with sky blue labels and a wrap around poster sleeve hand coloured by the band, the second pressing featured brown labels and brown cowboy sleeve, there was also a misspressing with yellow and red labels and a white cowboy sleeve)

7" - Josef K - Radio drill time/Crazy to exist (80-3) 1980
(first pressing came with sky blue labels and a wrap around poster sleeve hand coloured by the band, the second pressing featured brown labels and brown cowboy sleeve, there was also a misspressing with yellow and red labels and a white cowboy sleeve)

7" - The Go Betweens - I need two heads/Stop before you say it (80-4) 1980
(brown labels and brown cowboy sleeve, there was also a misspressing with yellow and red labels and a white cowboy sleeve)

7" - Josef K - It's kinda funny/Final request (80-5) 1980
(brown labels and brown cowboy sleeve, initial copies with 7" size colour paper insert)

7" - Orange Juice - Simply thrilled honey/Breakfast time (80-6) 1980
(brown labels and brown cowboy sleeve, initial copies with 7" size colour paper insert)

7" - Orange Juice - Poor old soul/Poor old sould (part 2) (81-2) 1981
(black kilts sleeve, initial copies with lyric postcard)

7" - Aztec Camera - Just like gold/We could send letters(81-3) 1981
(black kilts sleeve, initial copies with lyric postcard)

7" - Josef K - Sorry for laughing/Revelation (TW1 023/81-4) 1981 (Released on the Belgian Crepuscle label under licence from Postcard)

7" - Josef K - Chance meeting/Pictures (81-5) 1981
(lback kilts sleeve, initial copies with lyric postcard)

7" - Orange Juice - Wan light/You old eccentric (81-6) 1981 unreleased

LP - Josef K - The only fun in town (81-7) 1981

7" - Aztec Camera - Mattress of wire/Lost outside the tunnel (81-8) 1981

The following catalogue numbers were allocated for future releases -

7" - The Go Betweens - Your turn my turn (81-9)

LP - Orange Juice - Ostrich churchyard (81-10)

7" - The Secret Goldfish - Hey mister (81-11)

7" - The Bluebells - Everybody's somebody's fool (81-12)

LP - Aztec camera - Green jacket grey (81-13) (still criminally unrleased. Studio demos and live versions exist of the following tracks - Green jacket grey, His spirit shows, Remember the docks, Nothing in the sky and early versions of Pillar to post, Orchid girl, Release and maybe the inclusion of Just like gold/We could send letters (original Postcard version) and Mattress of wire/Lost ouside the tunnel (original Postcard version) could have made the perfect debut album?)

7" - Jazzateers - Wasted (81-14)

LP - Jazzateers - Lee (82 - ?) (A 13 track debut album was recorded in 1981/1982. This particular line up of the band featured the Rutkowski sisters and Paul Quinn and was produced by Alan Horne but was never released - Can it be/Hey mister/Different feeling/I shot the president/Red letter day/Blue moon over Hawaii/Don't let your son grow up to be a cowboy/Different drum/Lee/Apres ski/Two part harmony/Slight return/Natural progression. The sound is somewhat different to the full throttle Orange Juice/Josef K sound on the Jazzateers self titled debut album released on Rough Trade with a much more country/jazz flavour throughout and the vocals are shared between the girls and Paul Quinn)

DISCOGRAPHY 1992 - 1997

LP/CD - Paul Quinn and the independent group - The phantoms and the archetypes (DUBH 921) 1992 (also on cassette)

LP/CD - Orange Juice - Ostrich churchyard (DUBH 922) 1992
(LP came with limited edition 10" irritation disc, a blank piece of vinyl with no playable grooves, also on cassette)

LP/CD - The nectarine no. 9 - A sea with three stars (DUBH 931) 1993

LP/CD - Orange juice - The heather's on fire (DUBH 932) 1993

7"/CDS - Paul Quinn and the independent group - Stupid thing/Passing thought/Superstar (DUBH 933) 1993

7"/CDS - Orange Juice - Blueboy/Lovesick/Poor old soul (French language version)/Poor old soul (Instrumental version) (DUBH934) 1993

LP/CD - Vic Godard - The end of the Surrey people (DUBH 936) 1993

7"/CD - Vic Godard - Won't turn back/The water was bad/ Conscience be your guide/Same mistakes (DUBH 937)1993

CDS - The Nectarine no. 9 - Un-loaded for you EP (DUBH939) 1993

CDS - D'un echantillon de marchandises EP - Punk rock hotel - Paul quinn and the Independent Group/Holes of Corpus Christie - The Nectarine no. 9/Louise louise - Orange Juice/End of the Surrey people - Vic Godard (DUBH 9315)
(Released on the Australian label Summershine under licence from Postcard given the catalogue number DUBH 9315) 1993

CD - The Nectarine no. 9 - Guitar thieves (CDNT 004)
(released on the Nighttracks label under licence from Postcard given the catalogue number DUBH 941) 1994

7" - The Nectarine no. 9 - This arsehole's been burned too Many times before (DUBH 942) 1994

LP/CD - Paul Quinn and the independent group - Will I ever be inside of you (DUBH 945) 1994 (The CD was also released in the USA on the Thirsty Ear Recordings label under licence from Postcard - thi cd 57024. It featured a completely different sleeve to the UK pressing. The CD was also re-released on Marina Records in 1994 featuring the original UK sleeve - MA7/MACD 93639)

LP/CD - The nectarine no. 9 - Niagara falls (SALD 214)
(Released on the Canadian label Shake under licence from Postcard given the catalogue number DUBH 9410) 1994

LP/CD - The nectarine no. 9 - Saint Jack (DUBH 951) 1995

CDS - Pregnant with possibilities EP - Tiger tiger/Will I ever be inside of you - Paul Quinn and the Independent Group Just another fucked up little druggy Jock Scot & the Nectarine no. 9 - Grunge girl groan - Jock Scot (DUBH 952) 1995

CD - Orange juice - The heather's on fire - reissue and repackaged CD in jewel case not gatefold card sleeve like the original 1993 release featuring different sleeve artwork, sleeve notes and CD design (DUBH 955) 1995

CD - Jock Scot - My personal culloden (Samo 1877)
(Released on the Samo label under licence from Postcard given the catalogue number DUBH 972)

All remaining DUBH catalogue numbers as far as I know relate to press releases, trade adverts, posters, etc released in extremely limited quantities and usually not actually given catalogue numbers on the items themselves. White label 7"'s and promos also exist from 1980 onwards but only in very limited quantities, I only have just the one myself!!! If anyone has any further info please get in touch......

OTHER POSTCARD RELATED RELEASES

After the initial phase of Postcard came to an end in 1981, Orange Juice had signed a major label deal with Polydor, the band's (first officially released*) debut album You can't hide your love forever and it's two singles Love love and Felicity although pressed on Polydor vinyl and given Polydor catalogue numbers were also given a joint Polydor/Postcard logo on the labels and the sleeves. Infact the drumming cat is as big and bold as ever occupying the whole of the A-side label on the Love love 7" and 12", legend has it that as part of the deal to sign to Polydor that Alan Horne purposely negotiated the Polydor/Postcard logo for the first album and two singles (smart move I say!!!) (*Orange Juice's real debut album was of course Ostrich churchyard, it sounded much rawer and represented the real Orange Juice of 1981, You can't hide your love forever fell foul to a more polished produced sound and the drumming cat logo on the label and sleeve was one of the only things that remained about the sound of young Scotland until the second coming of the label in 1992 when after laying in the vaults for over eleven years Ostrich churchyard was finally released to sensational public acclaim. Sadly the release was strictly limited, in the true tradition of Postcard but is now easily available to purchase on the excellent Glasgow school compilation released on the Domino label two years ago, in addition to the album it features all of the Postcard 7" A and B sides and some radio session tracks)

7"/12" - Orange juice - Love love/Intuition told me (+Moscow on 12") (Polydor/Postcard - POSP357/POSPX357 - 1981) (The 7" featured an orange sleeve and the 12" came in a completey different blue sleeve)

7"/12" - Orange Juice - Felicity/In a nutshell (+You old eccentric on 12") (Polydor/Postcard - POSP386/POSPX386 - 1982)

LP/CASS - Orange Juice - You can't hide your love forever (Polydor/Postcard - POLS 1057 - 1982)

7" - Orange Juice - Rip it up/A sad lament (Polydor - POSP547 - 1983) (Initial copies came with a free 4 track cassette - The Felicity sessions, the formative years, 4 tracks recorded live at Edingburgh Tevoit on 21.04.79. - Simply thrilled honey, Botswana, Time to develop, Blueboy)

7" - Orange Juice - Bridge/Out for the count (Polydor - OJ5 - 1984) (Initial copies came with a free 1 track flexi disc of a live version of Poor old soul)