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Felt Poem Of The River Blogspot
Hello, Aetix time again with a band who really made the eighties core of their existance, releasing ten albums and ten singles in ten years between 79 and 89 and then disbanded. Last week i posted 4 mini/albums and this week I do the same measning that 2 88 albums, Train Above The City and The Pictorial Jackson Review will have to do with just the mention here, the rest is all there to 'test'. Xxxxx xxxxx xxxxx xxxxx xxxxx For more on Felt check last week xxxxx xxxxx xxxxx xxxxx xxxxx Forever Breathes the Lonely Word is almost too perfect a pop masterpiece - upbeat, succinct, and wildly catchy - with the only out-of-place element being Lawrence Hayward's vocals. That's not a drawback, though - the imperfect vocals give the album just the kick it needs to stand apart from the rest of the flock. It may be overstating the case to say that the album laid the groundwork for a lot of pop music that followed, but the sound was certainly influential in certain quarters, and considering the success of some of those followers, the fact that this album wasn't a hit may be all the proof you need of the injustices of the music industry. (flac 112mb) 01 Song For William S Harvey 2:44 02 Ancient City Where I Lived 1:30 03 The Seventeenth Century 2:10 04 The Palace 1:51 05 Indian Scriptures 1:34 06 The Nazca Plain 1:27 07 Jewel Sky 1:01 08 Viking Dress 2:50 09 Voyage To Illumination1:21 10 Sapphire Mansions 2:26 xxxxx xxxxx xxxxx xxxxx xxxxx Red Krayola leader Mayo Thompson took over the producer's chair for this mini-album, but the sound was very similar to Felt's masterwork of the year before, Forever Breathes the Lonely Word.
Felt Poem Of The River Rar
Focusing on the contributions of keyboardist Martin Duffy (who'd become singer Lawrence Hayward's main instrumental foil after the departure of guitarist Maurice Deebank), Poem of the River once again offered rich, organ-enhanced folk-rock topped with Hayward's droning but expressive vocals. It's a successful combination, especially on short, sharp tracks like 'Stained Glass Windows in the Sky.' The seemingly endless organ solos on 'She Lives by the Castle' and 'Riding on the Equator' dilute the impact somewhat, although the tunes themselves are attractive. Meanwhile, though Hayward drops an evocative line here and there, there's nothing as front-to-back strong lyrically as 'All the People I Like Are Those That Are Dead,' a gem from the previous album. But overall, Poem was far more than a stopgap between albums. (flac 169mb) 01 Declaration 1:47 02 Silver Plane 2:38 03 She Lives By The Castle 6:19 04 Stained Glass Windows In The Sky 2:06 05 Riding On The Equator 8:55 06 Dark Red Birds 4:18 xxxxx xxxxx xxxxx xxxxx xxxxx Felt's main man, Lawrence, had a plan. Ten years, ten records, then break up the band.
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This is that tenth record and Felt goes out on a high note. Me and a Monkey on the Moon is the most musically accomplished and personal record of the band's career. It is emotional, funny, and loaded with memorable melodies, some of Lawrence's best. Felt always came across as incredibly remote and icy. The sound was sparse and jagged, the lyrics - when not vague - were hostile and acerbic. The album is so intimate and personal that it almost sounds like a different band. It sounds like Lawrence's autobiography, with songs about childhood, family, lost love, and the end of Felt; eight of the ten songs have 'I' in the first line and they are all sung in a voice aching with loss and regret.
The emotional nature of the lyrics and singing is bolstered by the lush and autumnal musical backing provided by the band. Martin Duffy is amazing here; he plays a wide range of keyboards from piano to mellotron to ARP string ensemble with just the right notes and feeling. The record is filled with instrumentation that was totally new to Felt, like long rock & roll guitar solos, pedal steel guitars, and female backup vocals. It all works to create a rich and heartfelt farewell to Felt, full of sentiment but not sentimental - the sound of a band reaching its potential and kissing it goodbye.
The other day the mail brought a copy of the FELT fanzine/book FOXTROT ECHO LIMA TANGO, roughly 160 pages of interviews, thoughts and reflections on the band FELT. It's exciting to have and for the most part well done.
The two long interviews with Lawrence and the piece by Phil King are particularly illuminating and enjoyable. The book happily led me to spend the rest of the day reading and listening to FELT. While I read I started to note the many references to other bands and songs throughout the fanzine and decided a compilation of some of these references might make a nice mix to accompany the book. And so I give you (. Those sparse photographs, the artful moody graphics of their albums and singles. The summer hat, Spanish afternoon of the Ballad of the Band sleeve The pretty boy half portrait of Forever Breathes the Lonely Word. The attic room with felt spray painted in black and the band in front of a Clockwork Orange poster.
The cardigan, droogish black gloves and snake like belt o f Let the snakes crinkle their heads to death, all wonderfully evocative and mysterious images. Images that seemed to point to another world, narcissistic, somewhat threatening, a little creepy even, but alluring like the imagination of a child. The music evoked staring in the mirror for hours not so much out of admiration of your appearance but in anticipation or in hope of your features beginning to morph or a landscape slowly revealing itself, another world inside the mirror.
Waiting for a vision to unfold, but its always just up to the edge of almost, just an inkling of something maybe about to happen, Felt's music and packaging implies so much, it captures the excitement and confusion of the first moments of implications just forming. Or those moments awaking from dreams when you know something important was revealed but can not be completely or coherently recalled, and so your left with the aftertaste of paradise lost.
Felt Poem Of The River Lyrics
Felt's music soothes me like no other. The sound is like wrapping myself in a warm blanket, the feeling of falling asleep in the afternoon and sensing others on the outside, voices audible yet unintelligible, going about their day. It's that twilight space between consciousness and the first stages of sleep when you're brain waves are switching from alpha to theta. Strange thoughts and mixed up memories fade in and out, leaps of associations, the strangeness of commonplace words suddenly sounding foreign and immaculate that's the space Felt's music occupies. Like the aural equivalent of old black and white still photos of people long dead and places no that no longer exist, there's a haunted quality there, of empty dusty rooms abandoned or shut off from the world by their occupant, Satie's broken piano plays in an empty room. It's a hermetic quality.
Daydreams of Lawrence constructing his musical missives in his own bedroom surrounded by first editions of Kerouac and Corso. Symbolist and Surrealist poetry on the bookshelf, perfect pictures of the Velvets and the Factory crowd, the best records of Patti Smith, Television, and Richard Hell on the hi fi and fantasies in his head of the streets of New York in the mid 1960's and Paris in the 1920's. Everything idealized, posed for perfection yet tempered by the melancholy foreknowledge that the root is ultimately flawed, but that there's beauty there too, beauty in decay and imperfection. Lawrence envisioned an idealized America, the rarified essence, the mystique of America, exotic and enticing, as can only be dreamed by one outside its borders. Filtering out all that's garish, leaving only the beatific. Most of his idealized American heroes in turn created themselves out of images plundered from the literature and cinema of Europe, Cocteau, Genet, the French New Wave, the Symbolists, the tortured poetry of Rimbaud and Baudelaire, or perhaps more importantly their perceived style. Picasso's sketch of Rimbaud, pristine and powerful, young and beautiful, hair astray, eyes on fire.
So a feedback loop is created between continents, roping back round and continuing to refuel itself, as surely Felt's universe continues to influence the best bands of today. 10 Old Angel Midnight excerpt 2- More Jack! The three albums of him reading both with and without musical accompaniment are available as a 3 disc box set through Rhino.
If you're a fan its well worth picking up. One of the beautiful things about listening to him reading his stuff is the joy you can hear in his voice as he reads (and the sadness) and how sometimes you can hear him chuckle at something he wrote that he's found amusing or surprising. The humor of the beat writers is too often overlooked. The Sun, A Small Star- The Servants have many ties with Felt, most noteworthy is the fact that two of their members, Phil King and John Mohan both played in Felt at different times.
The Servants also played shows with Felt. They have one compilation album, it might now be out of print, but its worth having, their sound falls somewhere between Felt and the Go-Betweens.
Phil King contributes one of the more enjoyable pieces in Foxtrot Echo Lima Tango, a kind of gossipy teen mag piece about his association with Felt that includes many mentions of other indie bands of the time. Lawrence liked his hair. Spirit of A Vampyre- I believe its the Phil King piece where he mentions talking to Robert Forster in a pub and telling him that Felt's next album was to be called Electric Trains (what became, 'Train Above the City') which he felt influenced the lyric in this song on the Go-Betweens next album, specifically the chorus which goes 'the electric train of soft cylinder parts'. On a side note Felt played shows with the Go-Betweens, one is mentioned specifically where the bill was Felt, the Smiths and the Go-Betweens! A nice night.
Red Krayola leader Mayo Thompson took over the producer's chair for this EP, but the sound was very similar to Felt's masterwork of the year before, Forever Breathes the Lonely Word. Focusing on the contributions of keyboardist Martin Duffy (who'd become singer Lawrence Hayward's main instrumental foil after the departure of guitarist Maurice Deebank), Poem of the River once again offered rich, organ-enhanced folk-rock topped with Hayward's droning but expressive vocals. Suggesting Lou Reed singing 'Positively 4th Street'-era Dylan, it's a successful combination, especially on short, sharp tracks like 'Stained Glass Windows in the Sky.' The seemingly endless organ solos on 'She Lives by the Castle' and 'Riding on the Equator' dilute the impact somewhat, although the tunes themselves are attractive. Only the unusually (and unpleasantly) aggressive opener, 'Declaration,' fails outright.
Meanwhile, though Hayward drops an evocative line here and there, there's nothing as front-to-back strong lyrically as 'All the People I Like Are Those That Are Dead,' a gem from the previous album. But overall, Poem was far more than a stopgap between albums, and has appeal beyond the Felt completist.
Felt - Rain Of Crystal Spires ↓ mp3. 2. Felt - Down But Not Yet Out ↓ mp3. 3. Felt - September Lady ↓ mp3. 4.
Felt - Grey Streets ↓ mp3. 5. Felt - All The People I Like Are Those That Are Dead ↓ mp3. 6. Felt - Gather Up Your Wings And Fly ↓ mp3. 7. Felt - A Wave Crashed On Rocks ↓ mp3.
8. Felt - Hours Of Darkness Have Changed My Mind ↓ mp3. 9. Felt - Declaration ↓ mp3. 10. Felt - Silver Plane ↓ mp3.
11. Felt - She Lives By The Castle ↓ mp3. 12. Felt - Stained-Glass Windows In The Sky ↓ mp3. 13. Felt - Riding On The Equator ↓ mp3.
14. Felt - Dark Red Birds ↓ mp3. (C) 2014-2018 Copyrights are reserved by their owners. The page does not contains any audio, text, video media material, protected by copyright law and does not contains any illegal MP3 content.
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