Letters to PHIL MAY

by admin  29th Oct 2014 Comments [1108]

As you probably already know, Phil May is currently in the hospital after suffering breathing difficulties. He has been diagnosed with COPD, a serious disease affecting the lungs. Phil can beat this, but he needs your help and encouragement. He needs to give up drinking and especially smoking urgently and immediately. Those closest to him believe the best chance he has of doing this is to turn his lifestyle around, and immerse himself again in art, music and writing.

How can you help? Write a personal letter to Phil today. Give him your encouragement. It’s important that he knows that what he does artistically has value and connects with you. Tell him how much his music has meant to you. Explain why you are a fan of the Pretty Things. Write about why a particular Pretty Things song, album or live show has meaning for you. Share your own story of kicking drink, drugs or smoking or of overcoming a potentially deadly illness or disease. Let him know that what he does matters. We feel if Phil returns home to a flood of letters like this, he’ll be inspired to make the changes he needs to make,

What to do: Write your letter today, and mail it to the address below.

Phil May
c/o Ugly Things
PO Box 3021
La Mesa, CA 91944
USA

 All letters will be forwarded unopened to Phil’s home in London. We need LETTERS. Emails or Facebook comments won’t get the job done. Phil is not a computer person; he won’t ever see them. Only a letter has the personal touch that will get our message through. Write today, do not delay. This is your chance to make a difference and help save Phil.

 


Sky’s Limits: The Seeds Stumble Into Psychedelia

by admin  5th Aug 2014 Comments [947]

By Doug Sheppard

 

To capitalize on their hit single and to keep up with their contemporaries, the Seeds entered the sessions for their third album with aspirations of a more sophisticated sound. It was a great plan, but two things stood in the way: their own limitations and the overconfidence of leader/vocalist Sky Saxon.

Saxon’s inflated sense of self-importance only complicated the band’s limits, but 1967’s resulting Future album came off more as a mixed bag than an embarrassment. Between an overdubbed tuba on “Two Fingers Pointing on You” and “March of the Flower Children” (with Sky’s inane spoken-word intro) and weak material like “Painted Doll” (crappy ballad) and “Where Is the Entrance Way to Play” (forced profundity), Future has its share of awkward moments. The overdubbed harp may be added to that list, but not on “Flower Lady and Her Assistant” — a darker textured number where the objective doesn’t seem as unrealistic — and the obligatory long track “Fallin’ ,” where an “Evil Hoodoo” vibe portends a bad trip. The resurrected B-side “Out of the Question” and “Pushin’ Too Hard” soundalike “A Thousand Shadows” are the best of the lot — probably because they’re the only two that recall the Seeds’ original sound.

Seeds Future

Ironically, three of the best tracks from the session — “Chocolate River,” “Sad and Alone” and “The Wind Blows Your Hair” — were left off the album, but appear (plus alternate versions) here. “Rides Too Long” — the original version of “A Thousand Shadows” under a different title — is another highlight of this expanded edition, as are early versions of “Gypsy Plays His Drums” and “Satisfy You,” not to mention less adorned versions (the mono “Travel With Your Mind” is the best mix) of a few album tracks. On paper, the full-length version of “900 Million People Daily All Making Love” has the potential to be another — but 10 minutes of it is a tad too much, and some of these songs (see previous paragraph) will never sound good, no matter what the mix.

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Velvet Underground – Golden Archive Series (Sundazed) LP/CD

by admin  19th Jul 2014 Comments [43]

The Velvets’ entry into the Golden Archive Series that MGM ran for a mere 12 months starting in 1970 is a curious one. A series more known for packages filled with quantifiable hits by name pop, country, and jazz artists was a strange place for perhaps—along with the Mothers of Invention (also, oddly, profiled in the series)—the most idiosyncratic combo on their roster at the time. In 1970 most people hadn’t wrapped their heads around the Velvets—though, their immediate influence was starting to swell in pockets around the globe—and their label clearly understood them no better. Was MGM attempting to re-package both groups for the pop marketplace?

Oddly sequenced, the set reads like either suits determining the most radio-friendly tracks from their first three LPs, or same enlisting a common-man intern not familiar with the group to choose their most palatable sides, with the brutality excised from their grand blend of beauty and brutality. Yet “Heroin” and “White Light/White Heat” are strangely tossed in the mix throwing things askew. You can’t fault the tracks chosen, as they’re all catalog classics, though focusing on the more spiritually searching, and messy love elements, with a side-order of chemical struggles and darker edges. However, some minor sequence tweaks—either for flow, or to create a narrative out of shifting perspectives—would’ve bolstered the impact of the set greatly upon initial release. From a fiscal POV I understand, but it’s an absolute shame so little of their ’67-’68 material is represented—three tracks from The Velvet Underground & Nico, two from White Light/White Heat, and the other five from their recent, decidedly more pop-slanted 1969 S/T album.

Opening with a triple-play of hushed brilliance concerning internal struggles of existence and coupling (“Candy Says, “Sunday Morning,” and “Femme Fatale”) grabs the ears firmly, but a sharp shift to the pulsing, in-the-red, abrasive noise-fest “White Light/White Heat,” is too forceful a move. Their thuggish simplicity and vocal drone is represented in “Here She Comes Now,” and too the sweet Tin Pan Alley pop side with Moe at the mic on “After Hours.” On the whole a good variety is displayed. While there’s a marked step from the total aural and moral destruction of their earlier sides beloved by rock’n’roll trufans, VU were never really something you could easily place in a ‘commercial’ box even during their attempts at sweetness—there was always one finger raised in your peripheral.

All in all, this is a good entryway into the wonder of VU sans all the dangerous tangles and barbs, but with some retrospective knowledge perhaps a CD is the choice here so you can create your own ultimate playlist. (Jeremy Cargill)