Monday Long Song

Released 53 years ago today, 'Faust IV' was, remarkably, the band's third LP of 1973. I (along with many of my age group I suspect) originally bumped into Faust via 'The Faust Tapes', a budget (49p!) album issued five months earlier, that my Glam-infused brain struggled to make head or tails of initially and was latterly, accurately, described by Wire magazine as showcasing '...sonic collage at its best...' Also released in 1973 was 'Outside the Dream Syndicate', Faust's fabulous collaboration with Tony Conrad, an album that I didn't actually hear for the first time until I was significantly longer in the tooth.

'Faust IV' kicks off with the epic droning 'Krautrock', running just shy of 12 minutes. When an expanded reissue of the album appeared in 2006, an equally lengthy, though slightly more abrasive Peel Session recording of 'Krautrock' was among the extra tracks and it's that particular version I offer here.

Krautrock

Friday Photo(s) #79

Last week I took a bus over to the town I work in and walked home along country footpaths. I've done the jaunt before, more than once, but was trying out a new route this time. I estimated that it would take around 1¾ hours and for the first few miles all was going swimmingly, then I hit the first of two sweetcorn fields I'd have to cross. Footpaths should be maintained by the land owner, regardless of whether or not there's a crop in the field, so I followed the wooden 'Public Footpath' sign into the field, which was only slightly overgrown at this point. As I pressed on, the worn down path beneath my feet became gradually less obvious as previous walkers had presumably given up the ghost and turned round. By the time I realised that the footpath was completely gone and I couldn't actually walk any further, the sweetcorn surrounding me was over head height - I felt disorientated and even a little panicky. For the photo below I was holding the camera up over my head and shooting blind. It took me some time to hack my way out, imagining I was roughly retracing my steps, but I actually emerged from the corn some distance from where I entered it, such was my disorientation. Long story short, taking a series of alternative footpaths around the field instead of walking across it added considerably to my step count. 

Fortunately the second sweetcorn field, a mile or so further on, was perfectly maintained, offering a clear cut footpath straight through the middle of the towering crop - you can see it disappearing into the distance in the photo at the top of this post. A short while later however, the next phase of my pre-planned walk was scuppered by a stretch of country footpath that had been officially closed by the Parish Council, damaged by off-road vehicles apparently, necessitating yet another detour for me. I eventually arrived home, wearier than anticipated, more than three hours after setting off.

Here's The Coral, summoning the spirit of early Pink Floyd I feel, with an appropriately titled tune from their 2004 LP 'Nightfreak and the Sons of Becker'.

Song of the Corn

Monday Long Song

As we turn the corner of the year, I find that I've already posted on, and generally interacted with, this little corner of the internet more regularly in the first six months of 2026 than in the entirety of both 2024 and 2025, something I'm quietly pleased about, particularly given that I've not really been in a great place for the last month or so. What strikes me though, leafing through my back pages, is that I've barely made mention of the records I've purchased or of the many gigs I've attended so far this year, an oversight on my part and something I'll attempt to rectify as we forge ahead through the second half of 2026.

Brown Wimpenny are a Manchester folk collective whose membership currently stands at 11, down from an earlier, somewhat daunting, 25. They've been playing live for over two years and finally released their debut LP last month, on the ever magnificent Broadside Hacks label. The record bursts at the seams with richly drawn characters, largely from the Northern English tradition, and is by turns angry, rambunctious or, in the case of Old Molly Metcalfe, really quite moving. This ancient tale of sheep-counting in the North Riding of Yorkshire is based upon an accappella piece by the late (and really bloody great) Jake Thackray, whose voice is heard in the song's introduction. 

(As a bonus, I've included a 1971 BBC shiny floor clip of Old Molly Metcalfe from Jake, which is honestly worth four minutes of everyone's time). 

Old Molly Metcalfe

Dave Greenslade

The ultra-rare quadruple Swedeface - don't try this at home kids!

Composer, producer and all-round keyboard maestro Dave Greenslade died earlier this week, at the age of 83. Following a short stint with Geno Washington's Ram Jam Band in 1968, Dave joined British jazz-rock heavyweights Colosseum, staying until their split in late 1971, after which came the band that bore his name. I first crossed paths with Greenslade in late 1973, via a friend who had their second LP 'Bedside Manners Are Extra' and quickly became a firm fan. All these years later, Greenslade's four original albums remain in my collection and whenever I play one of them, I invariably end up playing them all. 

From 'Time and Tide', the band's final LP (and my own favourite), 'Catalan' is a fine showcase for Dave Greenslade's dexterity on the ivories. 

Catalan

Monday Long Song

I'm just back from Leeds, where a small group of us blogging types (and available partners) assembled for a couple of days to hang out, waffle relentlessly, amble aimlessly, imbibe fine ales and scoff top scran. These occasions are always over far too quickly and, before we knew it, hugs and handshakes were being exchanged as we headed off in separate directions for home. In spite of working in a busy supermarket, my life these days is a fairly solitary one, so I particularly treasure such get-togethers with like minded souls - a pinprick of brightness in an increasingly dark and unpleasant world.

As my train trundled south-eastwards out of Leeds, I cranked up some tunes to soundtrack the passing scenery and my melancholy mood. By chance one of the first to hit my eardrums was 'Spin Me Endless in the Universe' by Richard Youngs, which perfectly suited my disposition in that moment. As of 2026 Youngs has put out close to 300 albums, ranging from electronic squalls to banging drum & bass, musique concrète to epic ambient drones. This 2013 performance, however, finds Richard alone in a studio with just an acoustic guitar and his own untreated voice. It's a thing of beauty and is dedicated to the BlogCon'26 posse.

Richard Youngs - Spin Me Endless in the Universe

That Day Became a Year

The moment is almost upon us, the hostelries of Leeds are checking stock levels and polishing their glasses in anticipation of the latest instalment of the annual BlogCon, which commences on Monday. I understand that Alyson has already booked us into a couple of splendid looking eating establishments and I've no doubt at all that John Medd is ready to guide us towards the finest alehouses the city has to offer. C will be there, Ernie too and I believe that Walter is flying in once again. I'm a little hazy as to who else is joining in the fun, though needless to say everyone is welcome. Those that can't be with us this time around will be missed that's for sure and will have a glass or two raised to them over our three days together. As usual I've done little by way of research myself, I'm more than happy to go with the flow. As long as I have coffee in the morning, a beer in the evening and good company throughout the day, I'm all set.

Leeds born surrealist, absurdist and all round genius Glen Baxter died in March, a couple of weeks after his 82nd birthday. Baxter's work has loomed large in my life since the early 1980s and several volumes sit on my shelves to this day. I don't believe there's any official recognition of his heritage in Leeds, but there certainly should be.  

Be Bop Deluxe - Surreal Estate

100 Miles

My floorboards groan under the weight of Miles Davis records and the records that his music has guided me towards. Today marks the great man's centenary and to celebrate this milestone (excuse the pun) I've spent the last few weeks revisiting his catalogue. My go-to period runs from 1969's 'In a Silent Way' through to 1974's 'Get Up With It', seven studio albums and three live sets, the majority of them doubles and many of which have been greatly expanded in recent years by the release of multi-disc complete session box-sets. It's a truly monumental run of music and the albums immediately preceding and following this rich seam  are none too shabby either. 

Here's something recorded in 1969, though not released until 1974's 'Big Fun'. In spite of being given just the one title on the cover and label, it's actually a medley of 'Great Expectations/Orange Lady', altogether a sprawling, slightly eerie, piece, particularly when the 'Orange Lady' segment kicks in after around 13 minutes.

Great Expectations