Mark Burgess + Yves Altana — Paradyning live in Frankfurt '96

A little curiosity can take you a long way, my friends. . .

After finding this little gem late one Saturday night, I soon stumbled upon this, filled out the form and thought nothing more of it. When I heard back, it would be a lie if I said that I didn't get a little hint of butterflies. I've long thought that the Paradyning album was an underrated chapter in the Mark Burgess saga. It's almost like a more focused version of the Sons of God project, as it features a lot of the same lineup, but everything is whittled down to its bare essentials. Jon Lever on drums and you get a couple downright Mark Burgess classics that have remained in his live repertoire ever since.

So, this album is just candy coating on an already super sweet semi-hidden treat.

The set opens with two rip roaring rocking out moments on 'Sin' and 'Silver' that definitely look forward to the more aggressive material Mark and Yves would tackle on the Invincible album a couple years later. It really makes me go back to the proper Paradyning album, as I guess I never really noticed before that the album definitely does rock out in a few spots — the production is a bit restrained, so I guess it was an easy thing to miss.

While not everything from the proper album is played here ('Adrian Be' and 'Stop Talking' are not performed), three Chameleons songs are played with pure expertise (a blistering 'Home is Where the Heart Is', a subdued —but passionate— 'It is Any Wonder?' and a unique, building version of 'Tears' as a hidden bonus track) and, quite awesomely, an ace run-through of the Sun and the Moon's 'This Passionate Breed' round out the set. It's fantastically recorded straight from the board and sequenced in a cohesive order.

The highlight for me is definitely 'Inhaling' —it's one of my favorite songs Mark has ever done anyway, but they just captured it amazingly here. An intensity and emotional aspect, that some folk may have missed on the studio version, is present here and any doubts that it's one of Mark's best tunes should probably subside by the second chorus.

And, you know, it should speak pretty loudly about how good this thing is when you take a step back and really look at what it is: just a live album. This was just a gig for Mark and Yves. They found some local musicians, practiced the songs for a day or two and played a show. That it's now a serendipitous document of a pivotal moment in the career of an unlikely musical partnership between two people so closely linked just goes to show you that, more than anything else, Mark Burgess is a musician who will give his all no matter what. And that this was just another stop on the road for these two —and yet, simultaneously, a worthy listening endeavor on its own that has that undeniably personable warmth that seems like everything with Mark's name on it possesses— is just plain awesome.

A longtime proponent of the straight from the artist purchase, I highly recommend it.

You can buy this album from Yves Altana here.

~Austin

James Oakes and the Bellows.

A couple years ago, I was absolutely ecstatic to learn that one of my all time favorite musicians would be playing a solo show just hours away from me. Yep, I purchased tickets immediately to see Mark Burgess play in San Francisco.

After seeing the above flier, I wondered what/who James Oakes and the Bellows were. I didn't care, honestly. I was going to see Mark Burgess. Maybe he'll play 'Perfume Garden' and 'Second Skin.'

Fast forward to the show. It was not packed. Not even at capacity. And for a small venue like the Great American Music Hall, that was mildly disappointing because as a huge fan, I feel like Mark Burgess does not have the sizeable following he should. Anyway. It was a double-edged sword because, despite my disappointment, I would be treated to one of the most intimate and flat out best shows I've ever seen. And that wouldn't be all on account of Mark's performance — though he was fantastic and the highlight of the bill. Played audience requests, all the old Chams songs I wanted to hear and was an amazing presence.

But that's not what this post is about.

At the time, I did grow a little impatient, because I saw Mark hanging out at the bar during their set, but in retrospect, James Oakes and the Bellows were amazing.

When they came on stage, admittedly, I thought they were a group of four very mediocre looking fellows. My cynicism kicked in and the memories of seeing countless awful opening bands came rushing back into my brain. I have to admit this genuinely affected me through the first two songs to where I don't even remember what songs they played.

My first real memory of the band is James, in a between song banter moment, being completely overwhemled and genuinely speechless when trying to explain to the audience how important and influential Mark's music had been on himself and the band. It compelled me to be a little more open minded.

And then they played 'Way Down.'

Needless to say, I paid very close attention to the rest of their participation in the remainder of the evening's music (the band came back out later on and backed up Mark for great renditions of Chams tunes). The other three members of the band were all very competant, but not really flashy in their performances (and in the case of second guitarist Mike Arntz, seemingly a little terrified to be on stage; but that didn't show at all, especially when he played 'Tears'). James, however, is a captivating frontman. Throughout the band's set, I kept thinking how good he sounded vocally. And maybe it was just because he wisely uses his voice within the restraints of the music the band plays, but I was genuinely impressed.

Well, time has passed. I wanted to buy some CDs right then and there at the show, but there was (very disappointingly) no merch table. Upon visiting the band's page out of curiosity periodically and checking out the MP3 songs offered on the page, I finally decided recently I should contact James and purchase the band's two albums properly.

And am I ever glad I did.

They sort of sound like a hybrid of the Smiths jangly guitars meets the more spacious moments of the Chams, all with a distinctive hint of Americana thrown in. But, in James Oakes venerable vocals, the band's sound takes on a completely different vibe. He's got a vocal style that recalls no one I've ever heard before, but with a similar timbre and cadence to Archer Prewitt (of all people, possibly explaining why it appeals to me so much). With songs like the ambitious mini-epic 'Outside' (from the album of the same name), the boys create something that is distinct and resonating, but always with heaps of catchiness and amazing riffs. It's not jangle pop, it's not power pop, it's not guitar rock, it's just good guitar-oriented music.

The first album (Outside, 1998) is mostly James playing everything (except drums) and singing. A mound of fifteen excellent strummers, it's highlighted by: the two openers; sunny "Liberty Bell" and the slow loping breeziness of "Policeman", along with the previsouly mentioned amazing title track and the rolling Cure-ish melancholy of "If You Can Find Me." Truly not a bad song in the bunch, the only real criticism I have of the album is its nearly too-samey production. Even though the songs are good enough to overcome it, it may take a while for them to all develop identities of their own.

The follow-up, Color the Wheel (???2002???), on the other hand, follows through on the potential previewed on Outside. Although the sound is largely unchanged, there are slight variations that provide a more well-rounded and overall better record. Starting with "I Don't Want to Fall", a flat out great strummy pop song, and then launching immediately into the album's (and possibly the band's) climax "Way Down", it's a wonderful record to accompany you in just about any scenario. "Way Down" is kind of surprising because its chunked up guitar tone and and near twang is very uncharacteristic for the band. But James' refelctions of "Trying to forget and trying to remember... trying to find some piece of mind" provides a stark contrast to the musical backing's otherwise sunny persona. With such a highlight so early on in the record, I initially thought it would be the case of the band firing all of its shots too quickly. But, instead, the rest of the album is just one vintage sounding song after another; except all of them are absolute stunners. Other standouts for me are "I Don't Know Why", "Wouldn't it Be Nice" and the time signature switching "Call Me", all surely album highlights on any lesser project, but here they are each just more strong supports in the album's rock solid consistency. The production is chunked up and much more varied here and the songs feel completely developed. Just a wonderful record that sounds like something that should be a lot more well known than it is.

It's such a refreshing thing to hear bands like the Bellows making music that is so timeless and honest. And while they certainly have their audible touchstones and points of influence, it is a case of a band understanding where influence should end and inspiration should begin.

Absolutely wonderful music.

Check it out.

~Austin

Mark Burgess — View From A Hill

Well, I finally recevied and read through Mark Burgess' autobiography this past week. Besides the book being autographed and personally addressed (!!!!!!), I have to say, I am thoroughly impressed and excited about it. I ran through its 700+ pages in about ten days and it's the quickest read I can recall from recent years.

(I interrupted Henry James' Wings of the Dove, which I was about halfway through, to take on View From A Hill and now I'm a little disappointed to go back to it, in complete honesty)

My initial thought of the book is that it's a completely essential document for any fan of post-punk music of any sort. Startling candid in his approach, Mark only scarcely hides explicit details about coming of age in the new wave era, so you can gurantee that there's plenty of sex, drugs and rock and roll. But there is a stark, humanist slant to the whole thing —as if that's any surprise to longtime fans— that places extra emphasis on nature, the looming despair of life, being an activist for human rights and general good will and the downright disgusting experience that is sushi bars. Yep, it's all here... and for Chameleons, it is the virtual bible, complete with a trip to Jerusalem (no, seriously).

In the midst of the book's recent release, the message boards over at www.thechameleons.com has been buzzing, so here are some posts that I've made while reading the book and in the initial aftermath of finishing it...

In response to the general topic on the book:

"Jun 8 2008, 11:58 AM

Well, I'm through the first six chapters (about 250 pages in) so far and I have to say, the story is absolutely engaging.

The writing style is very quick and kind of scattered. It feels like perhaps Mark thought of things he wanted to include before writing and then went back and pieced them together afterwords. He uses similar devices in different settings and while that would become tedious under any other circumstance, as a huge Chams fan, you stop noticing because the subject is aboslutely fascinating.

So, in other words, sure it's only for the biggest of fans, but for us, what a gold mine.

So far, my only big complaints would be 1) that it's scattered and not completely linear and 2) there are quite a few grammatical errors, but that is usually the case with first editions in smaller runs and is completely not Mark's fault.

And mine was signed and dated 10 May. So, yeah."

In the same topic, in regards to all of Mark's recollections of meeting other rock stars on the road:

"Jun 12 2008, 07:56 PM

'Robert Smith struck me as a rude, arrogant poseur.'

At that point, I laughed coffee through my nose."

In the same topic, in regards to the fact that the Paypal receipts for payment on all pre-orders had been printed on the back of original proofs from different pages of the book, making each one a collector's item in itself:

"Jun 13 2008, 07:11 AM

No, I think that was done intentionally. As an extra little collectible, so to speak.

I was also very excited to see that."

(to which a clever co-poster replies, 'I thought Mark was just recycling.' Hardy har har)

Immediately after reading a nice little tidbit:

"Jun 16 2008, 01:41 PM

So, I'm about two-thirds of the way through and I have to say the biggest revelation for me so far is that the drums on 'Serocity' are... Reg beatboxing!

I laughed out loud when I read that part, out of pure excitement."

And one last random burst of excitement in that topic at a random piece of trivia:

"Jun 20 2008, 03:56 PM

In other 'Holy shit THAT was Reg?!' news...

THAT WAS REG ON DRUMS ON STRIP!!!?!!!??!!!

Awesome.

And yes, just finished this morning and the last chapter is very much a scattered all over the place bit of personal manifesto and philosophy. Interesting, but hard to grasp some of the concepts he discusses at such short length."

In a topic titled, View From A Hill Editor's Section, Find a typo, win a quid, I very sassily retorted:

"June 22 2008, 10:34 PM

Yes, there are errors upon errors in the book —sometimes several on the same page— but, really, is the narrative lost on any of us?

The main people are addressed as who they are —it's not like Mark said 'Reg' and actually meant 'Marc Bolan'— and all of the ideas and concepts are clear. The biggest mistakes in the book are equal to typing 'teh' on instant messenger or some other ridiculously small mistake where everyone knows what you actually meant.

I, for one, am absolutely enamoured with the book after one cover to cover reading... and I can't wait to read it again — typos and all."

And, finally, in a topic titled 666 Happening... (a reference to a series of events that Marks alludes to over several chapters which all involve the number '666'), which other members replied to and the conversation eventually leaned towards how Mark points the finger at Dave Fielding's behavior several times for the Chams' internal conflicts, I got very poignant and self-absorbed:

"June 22, 2008 10:56 PM

Well, I know there is quite a few topics on here currently about the book, but I will indulge one last time...

...maybe in hopes that one of the band members will read my thoughts and consider them; even if briefly...

The main thing to keep in mind is that the book is View From a Hill by:

***MARK BURGESS***

Not Mark Burgess, Reg Smithies, Dave Fielding, Jon Lever, Tony Skinkis, Tony Fletcher, Martin Jackson and "Scoffer," as Mark so effectionately dubs him (I have to admit, I laughed each time I read that).

Not Mark Burgess and Yves Altana.

Not Mark Burgess and Sally.

Not Mark Burgess and Daniela.

Not Mark Burgess and Simon Lawlor.

Not Mark Burgess and Bryan Glancy.

Not Mark Burgess and James Oakes.

(hey, sidebar: when can we get some JO on iTunes?)

None of those people wrote this narrative except for Mark.

OF COURSE IT'S NOT GOING TO BE COMPLETELY OBJECTIVE.

We've all known for ***years*** that the main conflict in the band was between Mark and Dave. Yes, that is completely and wholly unfortunate for us because we love the music and records they created during their time in the Chameleons. But, can we, hopefully as mature adults (?), simply recognize that the personality conflict between those two amazing muscians was too strong to overcome the equally as amazing creative chemistry between them?

Yes, so and so did such and such and it was an awful thing to do.

But, after three classic albums, countless unforgettable gigs and enough memories to keep us all telling stories to anyone who will listen for as long as we live, isn't that enough to ask?

I, for one, applaud Mark's decision to tell his story in the way that he did. It tells the story of a band that many of us have come to call 'ours.'

However, the book is his, through and through. The Chameleons are certainly a large part of [t]his, because the band is clearly a large [part] of his life (as it certainly is for Dave, Reg and Jon). But, at the end of all of it, it is his life and although the Chams consumed much of it, there are other parts.

I loved the book and I loved reading his impressions of doing acid at Loch Ness.

Bottom line: he's a great story teller and the story is, without a doubt, HIS.

PS — Didn't he claim Reg's behavior as the final straw for him quitting the Chams in the first place? Not to continue a ridiculous discussion, but that seems a pretty important bit to overlook."

And so, my personal conflicts about posting on the Chameleons message board did unfortunately and ultimately invade on my ability to enjoy Mark's book on its own terms. But I did enjoy it immensely, even disregarding that whole situation.

Honestly, I'd love to hear Reg's side of the story, with short bursts of belligerent attacks from Dave and Jon. Not only would it be hilarious, but we'd hopefully be treated to passages like, 'Has that cunt come back from Jesusland yet? No? Bloody fookin' 'ell, are we going to play this fookin' American tour or not?!!??!'

Hopefully, it will coincide with the remastered and expanded Reegs reissues.

Oh, I can't wait, my friends.

Do yourself a favor and invest in a copy of View From A Hill.

~Austin