Let's Make This The Big One

In the summer of 1980, following the release of their third LP 'Way & Bar', John Otway and Wild Willy Barrett headed out on 'The Tent Tour'. The gimmick was that admittance to the gigs was by the purchase of the album's second single, 'DK 50/80', only. So, with no actual door money coming in, John & Wild Willy pitched a tent in a campsite near each evening's venue and spent the night under canvas, before moving on to the next town the following morning.

A couple of weeks into the tour, they arrived in my hometown and before that evening's gig at a local nightclub, they spent a good deal of the afternoon meeting and greeting fans, signing albums and generally hanging out, in the local record shop. I'd been working at that record shop for just a few months by then and it was my very first experience of an 'in-store', as these events were invariably christened by record company types.

Otway and Barrett had one of their many parting of the ways at the end of the tour (perhaps not so surprising considering the hardships they no doubt had to endure given the unconventional accommodation involved), but together behind the counter that day, they entertained all and sundry like the seasoned double act they undoubtedly were - Barrett the slightly grumpy straight man to the gangly, flailing blur of movement that was Otway.

As the afternoon drifted on, their road manager tapped his watch to indicate that it was time for the duo to head off for a soundcheck. Customers were satisfied and all our stock had been signed, but we asked for something a little more personal to keep at the shop as a memento of their visit. Otway scratched his head and excused himself to use the toilet, grabbing a magic marker on the way. No sooner had he returned than the pair were whisked away leaving us to clear up the debris left behind.

(Otway & Barrett only had one real chart hit, 'Really Free' in 1977, appearing endearingly and chaotically on both TOTP and the OGWT at around the same time. The b-side was the epic, fan favourite, 'Beware of the Flowers ('Cos I'm Sure They're Gonna Get You, Yeah!)', which contained a much-loved and oft-quoted spoken intro from our hero, Mr Otway.)

A short while after the duo had left the shop, I had occasion to visit the loo myself and discovered Otway's parting shot. On the inside of the toilet door, in huge magic marker print he'd transcribed that spoken intro. So if you happened to find yourself seated and, erm, concentrating on the business at hand, you couldn't help but read, 'OK, LET'S MAKE THIS THE BIG ONE, FOR OTWAY'!

Otway & Barrett - Beware of the Flowers ('Cos I'm Sure They're Gonna Get You, Yeah!)

Otway & Barrett - DK 50/80

Monday Long Song

Panda Bear released 'Person Pitch', his fourth solo LP, during the two year gap between Animal Collective's 6th and 7th records, 'Feels' and 'Strawberry Jam'. An extraordinary piece of work it is too. Samples, loops, found sounds and layers upon layers of vocals combine to produce the kind of noise Brian Wilson might've concocted had the technology been available to him in 1966. This was my most played album of 2007 by a considerable margin.

Panda Bear - Bros

I'm Lost and I Need to be Found

With the return of original drummer Mike Felumlee, the classic line-up of Smoking Popes have issued 'Into the Agony', their first full length LP of new music since 1997's 'Destination Failure'. In the interim there has been a clutch of albums featuring a rotating series of occupants of the drum stool, but from what I've heard of the new record, it's like the last 21 years never happened. Ever wondered what The Ramones might've sounded like if they'd been fronted by prime period Morrissey? Smoking Popes provide the answer. Here's their fantastic 1995 single, 'Need You Around' and from the new LP, 'Amanda My Love'.

Smoking Popes - Need You Around

Smoking Popes - Amanda My Love

Monday Long Song

And so we turn to prog - an almost inevitable consequence of hosting a long song series, at least in my world. Van Der Graaf Generator's catalogue offers an embarrassment of riches when it comes to lengthy, intricate pieces. 'Lost' from 1970's 'H to He, Who Am the Only One' is a particular favourite. Lyrically, it's a fairly straightforward ode to a love affair gone wrong, albeit embellished by the odd unexpected time signature and instrumental wig-out.

'...without your hand in mine I am dead, 

reality is unreal and games I've tried just aren't the same, 

without your smile there's nowhere to hide, 

and deep inside I know I've never cried as I'm about to...' 

Think yourselves lucky that on this occasion I didn't dig out the half hour masterpiece that is Emerson Lake & Palmer's 'Karn Evil 9'. It could still happen.

Van Der Graaf Generator - Lost

Masana Temples

From the melodic end of the contemporary psychedelia spectrum, Kikagaku Moyo return with their 4th full length album 'Masana Temples'. As I mentioned at the time (here), the Japanese five piece were initially brought to my attention via a passing comment over at TheRobster's place in 2016 and their brilliant 'House in the Tall Grass' LP quickly ended up among my favourites of that year. From the Stereolab-like vibes of 'Majupose' to the melancholic freak-out that is 'Dripping Sun', I've a strong hunch that 'Masana Temples' will occupy a similarly lofty position in my affections come December.

Monday Long Song

'Jean' was assembled for an Alan Lomax tribute event in 2015 by Steven Collins, working as The Owl Service. The Jean in question is Jean Ritchie, an American folk music singer, songwriter, and Appalachian dulcimer player, who was recorded extensively by Lomax for the Library of Congress in 1949 and 1950. It's her sampled voice that you'll hear entering proceedings at the three minute mark, singing a simple phrase that loops, ebbs and flows to great effect for the remainder of the piece. It's a thing of beauty.

The Owl Service - Jean

Disappear Into the Compost

By the time Siouxsie & the Banshees' 'Join Hands' tour rolled into Ipswich on October 9th 1979 (39 years ago today), two of their number, Kenny Morris and John McKay, had already jumped ship, walking out on the band in Scotland a couple of weeks previously. Budgie from The Slits was quickly drafted in to fill the drum stool while The Cure's Robert Smith suddenly found himself doing a double shift every evening, first fronting support band The Cure, then handling guitar duties for the Banshees. Unsurprisingly, given the volatile circumstances, the band were on explosive form in Ipswich, so much so that two nights later I took myself off to Chelmsford to witness it all over again. Emotions in the Banshees camp were obviously still running high the following month, when they taped a couple of blistering performances for the BBCTV programme Something Else.

In March 1980 Siouxsie & the Banshees released their first post-Morris & McKay single, 'Happy House', for which Budgie retained his position behind the kit and the band welcomed the remarkably talented John McGeoch on guitar. Tucked away on the b-side of the 45, 'Drop Dead/Celebration' opened with the line 'I Hate You I Hate You I Hate You I Hate You...' The bile and viciousness didn't stop there. '...I'm so ashamed to be connected with your name, you're so lame...' and '...you should be pushed down, down into the ground amongst the worms, and other spineless things...' Who could the song possibly have been aimed at?

Siouxsie & the Banshees - Drop Dead/Celebration