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  1.  
    Yes....I think he described the chorus as 'eurovision'...! Maybe it was the recorded version that so displeased him, thus revisiting an ongoing theme on this forum - when recorded versions don't quite live up to their live potential. But isn't that the same with any recording artist?
  2.  
    Over the years I've worked with Jowe Head he's always said the same thing - in that he could never understand why people readily accept that the definitive version of a song automatically has to be the studio version. In his mind - there is no definitive version of a song as it always changes!
  3.  
    One thing that the bootleg series has demonstrated in an utterly compelling way is what a force Wire was/is in concert. It's easy to think otherwise because of their interest in treating the studio as an instrument itself and that it was tensions over recording that has caused the most discord and division (that is, recording technique mattered greatly). But the live material shows just as much commitment to experimentation but almost always with more snarl and urgency. Just another way that they make it worth your while to pay attention to them.
  4.  
    The one live take on "Midnight Bahnhof Cafe" definitely pulls off what I think they were going for better than the studio version, particularly on the chorus. It's not a bad song in itself, not at all, but the chorus does come off rather poorly on record. The loss of Mike Thorne's production style does not help matters in this case. Had the whole Factory thing panned out, I think that someone like Martin Hannett could have pulled it off, but the sound on the "Our Swimmer" single as a whole is kind of thin.

    I am excited about those rehearsals, at the very least. I have been hearing about there being a Wire version of "Cancel Your Order" for years but only now might I be able to acquire it...
  5.  
    Hi Everyone,

    It’s been a while since I checked I here, there are many reasons why not (mainly to to with time) but not being interested in what you have to say is definitely not one of them!

    Firstly, I want to deal with the whole newsletter / additions to the LBS2 story. The idea was that the re-release of D&E would be announced in a newsletter and at the same time the 3 LBS2 items would “magically “ appear in the accounts of all the complete series subscribers. It didn’t quite work out but as planned BUT it’s at least partly my fault as I saw the newsletter as your e.mail. Unfortunately it took somewhat longer than it takes to send out the newsletter to get the titles in everyone’s accounts. Next time we add something like that I’ll remember everyone needs to get an email as well! There is no set formula as to how we do this stuff, which makes it more fun but sometimes State 51’s systems can’t cope with what I ask of them!

    OK the next issue is, why these three when there was a list of other stuff mentioned when the LBS2 was announced?
    Don't forget, this IS Wire and the opportunity for some conceptual neatness is never easily given up :) We have been talking about re-releasing D&E for a few years but once we'd decided to start work on what became CBU it was obvious we should hang fire on D&E for at least a year (well it's obvious to Wire, hopefully to you guys too!!)
    This break from it made me start to think of how to make the D&E release more interesting and expand the story around it. This was partly for selfish reasons I'll admit. I'm sure everyone knows the original D&E was not my favourite Wire album (or at least the Electric Ballroom part anyhow) and I wanted to somehow expand the release by adding extra tracks (to the CD version) and expanding into the LBS. For me it not only more interesting this way but also to closes the conceptual circle we opened by going into the whole CBU thing in the first place.
    It was Mark (Bursa) that came with the idea of making the attendant LBS releases to be in keeping with the D&E package. In a way the simple fact is that these three gigs were the basis of the original version of D&E and they haven't (as far as we know) been available at all widely (something that is always a big consideration when it comes to the LBS). I immediately liked the plan, as I said, it’s conceptually neat and with all three plus the extra tracks on the CD version of D&E the cupboard is literally empty of D&E period stuff. That’s all we got!

    OK the other point is about whether these are the final 3 in the LBS2. To be honest I’m agnostic on this and definitely open to suggestion. One thing for sure, if we add anything to the LBS (1 or 2) it’ll only be available to complete subscribers. What is really important about the LBS in general is that we strive to find things which are not really available anywhere else. Downloading stuff from the internet’s murky corners, buffing it up & putting it in a fancy box is not what we are about. One thing I had really hoped to have time to do for this series was mix one of he many shows we have in multitrack but I just simply don’t have time for this plus I’m just too much of a perfectionist! Also we gave “Recycling” in this series which actually took me several months back in whatever year I did it. We could have put that out as a regular release! On the more general point as to whether there will be an LBS3. I never say never to anything but I’m not sure if there is reason enough to do it. Right now I’d be content to add something to the existing series let’s leave it at that for now.

    I agree with JHM about those 2 recordings from Magritte but I must say also that the rehearsal recordings (I found in a cupboard in my house) were a bit of a revelation as far as “Midnight Bahnhof Cafe” was concerned! I never much like the Magritte version but as a band we played it really powerfully (not Eurovision at all :) - Also I think Dr. Medulla made a really good point about the value of the LBS in general. I think for many years Wire undervalued itself as a live band and it’s really interesting to see how, in spite of our claims to the contrary, that we have been at many points in our “career” pretty good on stage! The LBS has some great moments in that regard and I’ve been inspired myself quite a few occasions!

    Anyway, that’s enough from me. Maybe someone can start a thread on what else could be added to LBS2, however don’t expect anything immediately!!

    c.
  6.  
    Much appreciated comments Colin - good to hear from you.
  7.  
    Snippets can be heard on iTunes. Not sure that it is worth buying for the rehearsal material from what I hear, but I anticipate that I will not make a sensible choice when the physical artefact is available. Ally in Exile is rather barren, and an interesting curio in demo form. Over my Head rehearsal is great, like it more than the more uptempo version recently released. It heightens the wonder of the missing 4th album....
  8.  
    Just bought a CD copy of this in Fopp, even though release date is next week. Not sure if they'd racked them out early by mistake or whether they get some stuff ahead of online dealers but thought I'd get mitts on a copy.Looks smart, in the same style of case the Send Ultimate came in.Pleasingly they were on prominent display right in front of the main entrance.
  9.  
    ...inside is a little foldout booklet which has what little photographic evidence is available on the night and a slightly adapted version of Wilson's account from the book.
    Nice package although I miss the stage directions from the original release 'Vocalist attacks gas stove' etc.

    You all know what the main release sounds like. It's apparently been remastered and if the sleeve notes are anything to go by in order to remaster it they've re-edited the whole thing from the original tapes which means presumably somebody has also had to punch in 'I Don't Need to go to the Arctic...' etc at exactly the right time. Got to admire the attention to detail, and I guess Colin & Co have buffed up the flawed Ballroom tapes as best they can (although this is hardly one for audiophiles no matter how much you polish it)

    The main draw for most of us will be 10 bonus tracks - although it is good to have (remastered?) Our Swimmer/Second Length/Banhof/Catapult 30 back 'on catalogue' as well.

    Ally In Exile is probably the best. Just Colin and layers of acoustic guitar, although you can hear him multitracking additional parts and guitar lines over the top. I presume many Wire tracks started out like this so it's really interesting to hear this example of a home demo.

    The rehearsal tapes are pretty good actually, they vary in sound quality but all are worthwhile additions to the archive and mostly better quality than the 'Turns & Strokes' demo tracks (Over My Head especially). It's good to get some of these prototype tracks from another angle (several tracks feature keyboards, and the bleepy noises over Go Ahead etc. Who was playing the electronic stuff?). Cancel Your Order is pretty much unrecognisable from the Dome version (the recording is too lo-fi to hear the lyrics) but at this stage it's being fashioned into a fairly typical fast and metronomic Wire track (albeit at this stage lacking much of a tune).
    Part of Our History is a 15 minute jam beginning with the line "Practice makes perfect...I've got sand in my joints" and is pretty much in the vein of Crazy About Love/A Panamanian Craze?....'Part of our History' lyrics gradually emerge from the tootling and honking Sax and it'll ensure all reviews of this release include the words 'for completists only' somewhere....which of course it is.
  10.  
    "mostly better quality than the 'Turns & Strokes' demo tracks (Over My Head especially)" - sorry about being pedantic but - with the exception of the "Second Length" single all the tracks on "Turns & Strokes" were live (including "Over My Head").

    Pleased you've got it and thanks loads for the review - but Fopp have even beat pinkflag/greedbag with their release - I pre-ordered mine from this 'ere site and it isn't in my mitts yet.
  11.  
    Good, insightful review in The Wire
  12.  
    Document & Eyewitness Naked from the LBS is not quite complete. The "Eyewitness Accounts" track does not include the quote about the Arctic - that is exclusive to the standard and reissued D&E.

    I am an anorak and I claim my five hundred quid.
  13.  
    "Who was playing the electronic stuff?"

    According to the credits on the back - Graham.
  14.  
    Anyone received an email that the album's available for downloading? Just curious whether the delay is system-wide.
  15.  
    @leefact25 oh yes so it does, my eye was distracted by the credit for one Mark Bursa!
  16.  
    So … I'm taking that as a no, that no one's received the download email yet?
  17.  
    I've had an e mail informing me that downloads are now available in my account, followed by an e mail informing me of " a small technical hitch " and to expect an e mail when it's rectified..
  18.  
    I was surprised to see the downloads are more expensive than the CD.
  19.  
    Strange (but perhaps not unexpected) that the album's been out for a few days, but still no d/l availability. I received word that the disc had been mailed out, tho.
  20.  
    Received my disc on Saturday - and whilst we all know that there are limitations on the Electric Ballroom tape, Mr Swimhq has done a sterling job with the sound revision.