Blog Smith

Blog Smith is inspired by the myth of Hephaestus in the creation of blacksmith-like, forged materials: ideas. This blog analyzes topics that interest me: IT, politics, technology, history, education, music, and the history of religions.

Wednesday, July 19, 2023

Junkee Love, (Matheson/Casino Steel) Ian Hunter, Ian Hunter's Dirty Laundry.

This is not a song composed by Ian but appears on Ian Hunter's Dirty Laundry CD.  

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me



Junkee Love

(Matheson/Casino Steel)

Give me magic misery
Give me two shots - first one is free
Watch me cover - watch me grin
Jump for the juice in your syringe
You're the poison - you're the pain
You're the needle in my vein
Come on jab it - come go quick
The only habit I can't kick
Junkee see - junkee do
Junkee me - junk is you
Pusher comes to shove
Junkee love

ooh...I've got my trembles - I got the shakes
I'm a slave to my mistakes
Dial doctor on the phone
Get me on methadone
Give me magic misery
Give me two shots - first one is free
Watch me cover - watch me cringe
All from using your syringe
Junkee see - junkee do
Junkee me - junk is you
Pusher comes to shove
Junkee love



Ian Hunter CD: "Ian Hunter's Dirty Laundry"

Sleeve and track listing

Cherry Red CDM RED 321. (3 stars!)

  1. Dancing on the Moon (5:24)
  2. Another Fine Mess (3:28)
  3. Scars (5:04)
  4. Never Trust a Blonde (5:19)
  5. Psycho Girl (2:48)
  6. My Revolution (4:08)
  7. Good Girls (4:01)
  8. Red Letter Day (5:11)
  9. Invisible Strings (3:53)
  10. Everyone's a Fool (2:41)
  11. Junkee Love (2:46)
  12. The Other Man (5:23)

Running time: 50m 12s

Review

This 1995 album is an oddity. Not quite a full solo album, but more than just a collaboration. It started life as a project by Norwegian keyboardist Casino Steel with Ian invited to sit in in the studio. It soon became much more than that, with Ian writing a number of songs (some of which were written in the studio) and contributing to a few others. More importantly, it marked the return of Ian to the recording studio following the death of his long-time friend Mick Ronson.

With vocal duties shared as well this has something of a "band" feel to it. Despite being recorded at a number of studios, it also has a good live feel to it, which is no bad thing. Dancing On The Moon opens things up nicely, while Another Fine Mess looks back to life on the road with Ronson. My Revolution is another standout track, this time looking back to Ian's Mott days - fans will appreciate the reference to "a revolution for fun", while Ian acknowledges the advancing years in the next line with "you'd better lock up yer mums!" Sheer brilliance.

Darrel Bath's Never Trust a Blonde is great fun, as is Honest John Plain's Psycho Girl and Good Girls. All have a good, earthy 1950's rock n roll feel to them. The album ends with a trademark Ian weepie, this time the great The Other Man in which he forgives his lady but not the guy who shagged her.

This album originally came out with little fanfare in 1995 on a small Norwegian label, with the US label Cleveland International also picking it up. In the days before Amazon, etc, it meant getting hold of copies in the UK was difficult (but not impossible). This release on Cherry Red, therefore, makes it the first time this album has been available in the UK. This time round you also get a good booklet, explaining the background to the recording of the album.

This is a fun album. Not Ian's best but by no means his worst and certainly worthy of consideration.

Junkee Love2:46Originally issued on Ian Hunter's Dirty Laundry.

Tuesday, July 18, 2023

The Journey, Ian Hunter, (live 28th May 2004, Originally a Mott The Hoople track. This live version recorded The Astoria, London England was released on The Truth, The Whole Truth and Nuthin' But The Truth and on Behind The Shades. Not on the box set.

The Journey is an Ian Hunter song from the Mott The Hoople Brain Capers LP this live recording release is from 2004. The epic introspective song about London's Archway known as Suicide Bridge had been a concert favorite for Mott but due to its length was cut from the set; we only have this one solo live cut. The lyrics are unsettling and vague enough to hint at madness and mayhem as the biblical forty days and forty nights unfold while the "angel screamed in my nightmare ride" concluding that: 

Everybody's got a journey

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

The Journey

(Ian Hunter)

All the changes they will take their time
In the morning dust they'll begin to rise
Halfway to a borderline
Well I can see the end
For the very first time

Well I know I lost just a little bit on the journey
When my mind's been split by little things that didn't fit on the way
Oh I know I lost just a little bit on the journey
'Cos I'm trying so hard to get going

There's a man on a bridge called suicide
And he hides his head while the coast is dark
And the river drags and the water sways
Oh his rags've seen better days

And I guess he lost just a little bit on the journey
For his mind was split by little things that didn't fit on the way
(Oh) Yes I know he lost just a little bit on the journey

For every gift he had to give
For every life (yeah) he had to live
Well they meant nothing without her to guide him on his way

Well he told her he was a leader
Of a well respected [load]
But when he tried to leave her
Well she looked right down her nose
Many times he tried to make her believe in herself
But she wouldn't listen to a word he said

Well he followed her though the darkness
All the chances I take
He followed her though the wilderness
Her mystery to break
Many times he tried to make her believe in herself
But she wouldn't listen to a word he said

So for 40 days and for 40 nights
Well they tied my hands made see the light
And the angel screamed in my nightmare ride
And the changes left (yeah) but they will take their time

And I guess I lost just a little bit on the journey
Yes I know I lost just a little bit on the way
I know I lost just a little bit on the journey
Oh I know I lost just a little bit on the journey
Yes I guess I lost just a little bit on the way
Yes I know I lost just a little bit on the journey
(Everybody's got a journey)


Mott The Hoople LP/CD: "Brain Capers"

Sleeve and track listing

Angel Air SJPCD160. (5 stars!)

  1. Death May be Your Santa Claus (4:55)
  2. Your Own Backyard (4:13)
  3. Darkness Darkness (4:32)
  4. The Journey (9:15)
  5. Sweet Angeline (4:53)
  6. Second Love (3:46)
  7. The Moon Upstairs (5:01)
  8. The Wheel of the Quivering Meat Conception (1:21)
  9. Midnight Lady1 (3:33)
  10. The Journey1 (9:37)

Running time: 51m20s.

1Bonus track on the 2003 CD (on Angel Air).

Sleeve variations

Atlantic CD sleeve

Review

Mott's last album for Island is a belter. Needing an injection of craziness that was lacking on Wildlife they reluctantly joined forces with Guy Stevens once again and the result is a raw, heavy metal punk album six years ahead of its time.

Of the pre-Bowie albums, this is easily the fans' favourite. Like Mad Shadows, this was recorded live in the studio, and all the tracks were laid down in about four days. Live tapes from the time show just how well this album captured their live sound.

Opener Death May Be Your Santa Claus is frantic (check out the exuberant "Wooo!" at the end). Darkness Darkness features Mick Ralphs on vocals and is a guitar-driven rocker and noteworthy for not featuring Verden at all. The Journey is one of Ian's epic ballads and it is an interesting exercise to compare this to the alternate version recorded a few weeks earlier (included as a bonus track).

Sweet Angeline is another rocker, one that would remain in the live set to the end. Second Love is interesting - the first of Verden Allen's compositions Mott recorded and beautifully sung by Ian. The Moon Upstairs is another full-tilt rocker with is in part a message of defiance to Island: "We ain't bleeding you, we're feeding you, but you're to f***ing slow".

The LP closed with The Wheel Of The Quivering Meat Conception, with is another end-of-session-jam tape reclamation job, this time as an earlier take of The Journey descends into complete chaos.

Bonus tracks here are the non-LP single Midnight Lady and an earlier version of The Journey (which is more acoustic than the LP version).

Sleeve notes as always are excellent, as is the sound quality. The CD also reproduces the original LP cover (albeit in miniature).

The Journey (live 28th May 2004)5:22Originally a Mott The Hoople track. This live version (recorded The Astoria, London England) was released on The Truth, The Whole Truth and Nuthin' But The Truth and on Behind The Shades. Not on the box set

Monday, July 17, 2023

Isolation (John Lennon), (live 8th October 2012 version (recorded at the John Dee, Oslo Norway) was released on Bag Of Tricks (Vol 3) (box set only).

The John Lennon track Isolation was recorded as Hunter prepared for a Lennon show supposedly to be held in NYC in 2011. Ian learned this song and Stand By Me by Ben E. King since John had recorded both. Andy York suggested Isolation as compatible with Ian's voice but when the shows were cancelled Ian still played both songs live just to have a fresh change. Although the lyrics were not written by Ian there is a similar theme to several Hunter songs about feeling out of place; when I heard it live with Ian on piano it did cross my mind that lyrically it fits easily into an Ian set. Trudi does not seem similar to Yoko Ono though. It was recorded at John Dee, Oslo Norway 8th October 2012. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me


"Isolation"

People say we got it made.
Don't they know we're so afraid?
Isolation.

We're afraid to be alone,
everybody got to have a home.
Isolation.

Just a boy and a little girl,
trying to change the whole wide world.
Isolation.

The world is just a little town,
everybody trying to put us down.
Isolation.

I don't expect you to understand,
after you've caused so much pain.
But then again, you're not to blame.
You're just a human, a victim of the insane.

We're afraid of everyone,
Afraid of the sun.
Isolation

The sun will never disappear,
but the world may not have many years.
Isolation.



 Bag Of Tricks (Vol 3) (box set only).


Isolation (live 8th October 2012)4:46This live version (recorded at the John Dee, Oslo Norway) was released on Bag Of Tricks (Vol 3) (box set only).

Sunday, July 16, 2023

Is Your Love In Vain (Bob Dylan), Ian Hunter, (live 26-28th October 1981, recorded at the Old Waldorf, San Francisco CA) If You Wait Long Enough For Anything, You Can Get It On Sale (box set only).

This Bob Dylan song for some reason does not have the question mark after it as does the original but it was recorded live in 1981 with bassist, harmony singer, and arranger Mark Clarke. Ian liked it at the time but has gotten disillusioned with it as too polished. It was not released until the If You Wait Long Enough For Anything, You Can Get It On Sale (box set only).


It was 2013 when fans were first teased with "coming soon... the ultimate Ian Hunter box set". Well, over three years in the making and what was originally going to be a 24-disc set is now a 30-disc whopper. And yes, it has been worth the wait.

OK, so what's in the box? Well there's every (regular) album that Ian has ever released, with the exception of 2016's Fingers Crossed and 2004's live double The Truth...Every album has been remastered, in some cases with bonus tracks (eg single edits) that haven't appeared on previous issues. Each is presented in a mini-LP replica sleeve, complete with an inner sleeve (for the CD itself) and a booklet. Sound quality is excellent throughout.

In addition, there are a further nine discs of rare and previously-unreleased material. There is an acoustic gig (Acoustic Shadows) from 2008, which is an interesting contrast to the (also acoustic) Live In The UK 2010 disc (also included here). Two discs of rarities (Tilting The Mirror) gather together bonus tracks that have appeared on "bonus CDs" on previous releases. Bag Of Tricks gather together various live tracks recorded over the years, including the 2002 Manchester gig that was previously thought to be "lost". It neatly showcases the last 30 years of live shows, from Toronto in 1987 through to Sheffield in 2013 and Tokyo in 2015. Fascinating.

Then there's If You Wait Long Enough... which included for the first time the 1979 Hammersmith Odeon gig. OK, an hour of this show was broadcast on BBC Radio One but this is the full show (nearly two hours!) and an improvement on the original BBC mix. We also get a 1981 show recorded in San Fransisco. This is interesting because it features Robbie Alter on guitar and Mick Ronson - on keyboards!

Experiments is fascinating. These are demos and (complete) unreleased tracks from the past thirty or so years. Look Before You Leap is a great power ballad (is that Ronno on guitar?), while Salvation (written in 1997 but not recorded until 2008) is a great way to close the collection. Ian has said it would be on his last record, and Proper's track listing has Experiments as the last disc... if this is really the last one (and Ian says it's not) then there's no finer way to finish.

Then there's two DVDs. The first is a motley collection of promo films, TV appearances and concert clips from the past 40 years. Disc 2 includes the 1979 Rhyerson Theatre show from Toronto which was broadcast on TV and has circulated amonst fans for years. There's also the Ian Hunter Rocks show from 1981, previously only issued on VHS (and Laserdisc). Then there's the Strings Attached show from Oslo in 2002. This has two tracks not included on the original DVD and a great way to round off a fascination collection. The 'Strings Attached' show is also in real-time sequence (unlike the original).

There is also a lavish hard-cover book which presents a biography of Ian's career so far, together with a track-by-track run-down of all the material in this collection, with Ian's (at times) brutally honest opinion. The book ends with tributes from a whole host of fellow musicians, all of whom are unstinting in their praise. Whorrabloke!

There is also a replica music paper, which contains reproductions of album and gig reviews from the past forty years. Finally, there is an Alien Boy-era lithograph (why don't they call it a photo?), signed by Ian.

The whole is presented in a large presentation case, complete with Escher-inspired artwork.

The whole collection is limited to just 2500 copies and Proper have stated that none of the (extra) discs will be available separately. So if you want any of these extras, you need to buy this box!

The cost is a whopping £250. This collection, therefore, is not aimed at the casual fan but the dedicated Ian Hunter fan (albeit one with very deep pockets). Given that such a fan will already own most if not all of the regular discs, this works out at £250 for the just nine "new" CDs and two DVDs. Whether this is worth the cost is a question for the individual fan to answer.

Ian has said his career isn't yet finished (he turned 77 in 2016!), but if it were to end now this set is an excellent way to bring the curtain down on the career of one of Britain's finest-ever rock stars.

Is Your Love In Vain (live 26-28th October 1981)5:58This live version (recorded at the Old Waldorf, San Francisco CA) was originally issued on If You Wait Long Enough For Anything, You Can Get It On Sale (box set only).

Saturday, July 15, 2023

Pavlov's Dog, Ian Hunter, Defiance Vol. 1

Who writes a dog about a security dog at JFK Airport? Well, Ian Hunter of course. Hunter writes Pavlov's Dog from the perspective of a dog sniffing canine just doing its job. 

The title comes from Pavlovian conditioning (aka classical conditioning) which was discovered accidentally. Ivan Petrovich Pavlov (1849–1936) found the conditioning during the 1890s. Pavlov researched salivation in dogs in response to being fed. He inserted a small test tube into the cheek of each dog to measure saliva when the dogs were fed (with a powder made from meat).

Pavlov predicted the dogs would salivate in response to the food placed in front of them, but he noticed that his dogs would begin to salivate whenever they heard the footsteps of his assistant who was bringing them the food, i.e., Pavlov's dog!

At the airport the dogs are trained to respond to stimulus and if a person is suspicious they sense it and alert their handlers for a dog day afternoon. The lyrics reference the 1975 film Dog Day Afternoon which is about three amateur bank robbers who plan to hold up a bank. A nice simple robbery: walk in, take the money, and run. Unfortunately, the supposedly uncomplicated heist suddenly becomes a bizarre nightmare as everything that could go wrong does. The song then is about a dog doing its job but if you try to sneak something in your day will be miserable. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me



Pavlov's Dog

https://www.youtube.com/watch?v=Wx_sH3E-kuQ

Behind the Song

https://youtube.com/shorts/UlwqHfL9Unw?feature=share

Fun fact the instrumentalists from Stone Temple Pilots are playing the backing track

A drug-sniffing dog at JFK. Not many songs about that, but having heard this one, maybe there should be more. Somehow I think Ian is referring to a broader perspective here. It's not the person in front of you's fault. Cool it. Just guessing.

Pavlov's Dog · Ian Hunter · Eric Kretz · Dean DeLeo · Robert De Leo Pavlov's Dog ℗ 2023 Sun Label Group, LLC Released on: 2023-03-17 Producer: Andy York Producer: Ian Hunter Composer Lyricist: Ian Hunter







Friday, July 14, 2023

Irene Wilde, Ian Hunter, All American Alien Boy

Irene Wilde from Ian's second LP is one of the most well-known, beloved, and most often played of all Hunter originals. The song is a classic coming of age song for so many of us young boys growing up. We have that first crush and then she breaks our heart. In Ian's case, this incident was the point of growing up and motivated him to confess:  

"I'm gonna be somebody - someday."

Hunter actually started his songwriting career based on this rejection and composed all his early songs for her. Thank you, Irene! As a result, we have the output that Ian has produced all from this key youthful rejection:

And I think most folks agree, a little put-down makes them see
They ain't no chain - just a link and that's why you made me think
Gonna be somebody - be somebody - be somebody - someday

Hunter was that sixteen year old who ran letters between Irene and a guy she went out with at Shrewsbury High School. According to Ian she had an irresistible Julie Christie jawline; Christie was a British actress and an icon of the Swinging 1960s. 

Irene really did snub Ian at the bus station, later married, had twins, and never saw her again but heard she liked the song. The Barker Street bus station is a car park now. At first the song was not going to be on the album since Hunter thought the melody was too much like Bach's Air On A G-String but manager Fred Heller insisted the song was included on the album and of course he was right, as Ian says: for once! 

The confessional nature of Hunter's ballad on this song is similar to the emotional impact that Waterlow and I Wish I Was Your Mother, immortalized as one of his finest autobiographical efforts. 

The true story played consistently on the 1979-1981 tours, then again in 1989, there is a Strings Attached version from 2002, two versions in 2004, an acoustic version in 2008, and a live version from 2010. Finally, an alternate version, Irene Wilde (Number One) is on the reissues of All American Alien Boy. There was another version considered for Shrunken Heads done Chet Atkins style but it was not fully completed. 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Irene Wilde (Number One)



Irene Wilde

(Ian Hunter)

When I was just sixteen - I stood waiting for a dream - 
at Barker Street bus station every night
When I tried to get it on - she just looked at me with scorn - my courage
turned to dust and I took flight

For those looks they seemed to say
You ain't nuthin' - Go away
You're just a face in the crowd so I went home and I vowed
I'm gonna be somebody - someday

Her name was Irene Wilde - Oh such beauty for a child
When she started dating boys - I nearly died
For I could not barely stand to see someone hold her hand
I felt I had to crawl away and hide
In my mother's living room I composed so many tunes
All the same - just a frame - for her name, and just to say
Gonna be somebody - someday

Wild as your name I soon left that country town
I been around, seen some fame, seen some ups and seen some downs
Smile through your shock when you hear your name aloud
It's that face in the crowd - didn't dig it - much too proud...

When I was just sixteen I stood waiting for a dream
A Barker Street bus station non affair
At the time it seemed so sad, but it did not turn out bad
If you hadn't messed me up I'd still be there
And I think most folks agree, a little put-down makes them see
They ain't no chain - just a link and that's why you made me think
Gonna be somebody - be somebody - be somebody - someday


Ian Hunter LP/CD: "All American Alien Boy"

Sleeve and track listing

Sony BMG 82876 769432. (4.5 stars!)

  1. Letter to Britannia From the Union Jack
  2. All American Alien Boy
  3. Irene Wilde
  4. Restless Youth
  5. Rape
  6. You Nearly Did Me In
  7. Apathy 83
  8. God (Take 1)
  9. To Rule Britannia From Union Jack (session outtake)1
  10. All American Alien Boy (early single version)1
  11. Irene Wilde (Number One) (session outtake)1
  12. Weary Anger (session outtake)1
  13. Apathy (session outtake)1
  14. (God) Advice To A Friend (session outtake)1

1 Bonus track on the 2006 reissue

Sleeve variations

The 1998 UK sleeve

The original sleeve

Review

Ian recorded his second solo album in NYC, and this finds him in an altogether softer mood - there are none of Ian's trademark rockers on this album. Management differences meant that Mick Ronson was absent ("I'll never work with Mick again so long as Tony DeFries is his manager" - Ian), so Ian brought in Chris Stainton on keyboards to act as a balancing force in the studio ("I need someone who'll argue with me").

Highlight of the album is Irene Wilde (which Ian maintains is a true story), and You Nearly Did Me In (which features Queen's Freddie Mercury, Brian May and Roger Taylor on backing vocals).

The 2006 reissue sees excellent sound quality, and a host of bonus tracks none of which have been released before. It also comes with an excellent booklet written by Campbell Devine. The original version of Rape has been restored, which some may see as a disappointment compared with the rare intro on the previous 1998 CD.

This is the third release of this album on CD. This album was previously available on a USA CD. Sound quality was good, considering that by all accounts the master tapes were not in good shape. No bonus tracks. In 1998 this album was issued in the UK as part of Sony's Rewind series. Sound quality was excellent, audibly better than the USA CD. The 1998 CD also came with a previously-unavailable version of Rape, which had the Singin' In The Rain intro. This version was previously available only on a few US test pressings and had never been issued officially before!


Irene Wilde3:44Originally issued on All American Alien Boy, also on the compilations Gold Once Bitten - the CBS Collection and The Journey.
Irene Wilde (live 5-11th November 1979)4:13This live version (recorded at The Roxy, Los Angeles CA) was issued on Welcome to the Club, and on the compilations The Collection and From The Knees Of My Heart.
Irene Wilde (live 22nd November 1979)4:25This live version (recorded Hammermith Odeon, London England) was originally issued on If You Wait Long Enough For Anything, You Can Get It On Sale (box set only).
Irene Wilde (live 19th April 1980)4:41This live version (recorded Rockpalast TV Show, Grugahalle, Essen Germany) was originally issued on Live At Rockpalast (not on the box set)
Irene Wilde (live 11th September 1981)4:40This live version (recorded Dr. Pepper Music Festival, Pier 84, New York NY) was originally issued on the Ian Hunter Rocks video (VHS/Laserdisc only). The video (DVD) can also be found on It Never Happened (box set only); the audio can be found on From The Knees Of My Heart (not on the box set).
Irene Wilde (live 15th February 1989)5:50This live version (recorded The Dominion, London England) was issued on BBC Live in Concert.
Irene Wilde (live 29/30th January 2002)4:05This live version (recorded Sentrum Scene, Oslo Norway) was issued on Strings Attached.
Irene Wilde (live 28th May 2004)5:19This live version (recorded The Astoria, London England) was released on The Truth, The Whole Truth and Nuthin' But The Truth. Not on the box set
Irene Wilde (live 12th June 2004)5:09This live version (recorded at the Bikini, Barcelona, Spain) was released on Bag Of Tricks (Vol 2) (box set only).
Irene Wilde (live 2nd March 2008)(10:08)This live version (recorded at the Mick Jagger Centre, Dartford England) was issued on Acoustic Shadows (box set only).
Irene Wilde (live October 2010)4:18This live version (recorded at an unknown UK venue) was released on Live In The UK 2010.
Irene Wilde (Number One)3:52An alternate version of Irene Wilde is on the 2006 and 2016 CD reissues of All American Alien Boy.

Thursday, July 13, 2023

Invisible Strings, Ian Hunter, Ian Hunter's Dirty Laundry.

Invisible Strings is part of the Dirty Laundry output but was solely composed by Ian despite the generally collaborative nature of the project. The release is strong enough to appear on a regular Hunter album but it has not and as such this is one of the most intriguing of the songs on the collection where the group nature of the project worked. 

The song is about the hold that a girl can have in dreams. The invisible strings are the metaphor of how much control that girls can have. At the end or "when the fat lady sings" that girl will still have the tie of invisible strings and the guy can't shake her. Hunter thought the song was strong but too wordy to perform live but reflects a genuine conversation. 

Perhaps a shame, no? 

Ian Hunter On Track for Sonicbond Publishing, TheDoctorOfDigital@pm.me

Invisible Strings

(Ian Hunter)

One, two, three
Well I woke up this morning - there's a girl in my bed.
How did she get there? Was it something I said?
I don't understand it but somehow it seems
She visits me in invisible dreams.
Over and over I try to explain
How did that girl get into my veins?
Did somebody send her - was it my velvet wings?
And how does she touch my invisible strings?
Invisible Strings - Invisible Strings
These are a few of my favorite things Now it's all over when the fat lady sings
I'll still be playing my invisible strings

Well maybe she don't have a world of her own
Maybe she's using me just like a phone
And sometimes she's cool and sometimes she stings
And I'm all tangled up in invisible strings
Invisible Strings - Invisible Strings
These are a few of my favorite things When you're wearing black and I'm wearing wings,
We'll still be playing those invisible strings

Well she never leaves - I'm never alone
I ain't in the book but she's still calling home
I tried to lose her - watch the TV
But that woman's always picking on me
Well, there's strings round my body, strings round my heart
I'd like to know where the string-pulling starts
I'd give anything to meet the angel who sends
Invisible ink to my invisible pen
Invisible Strings - Invisible Strings
These are a few of my favorite things When you're wearing black and I'm wearing wings,
We'll still be playing our invisible strings
Invisible Strings - Invisible Strings
These are a few of my favorite things Now it's all over when the fat lady sings
We'll still be playing our invisible strings
Invisible Strings - Invisible Strings Oh yeah


Ian Hunter CD: "Ian Hunter's Dirty Laundry"

Sleeve and track listing

Cherry Red CDM RED 321. (3 stars!)

  1. Dancing on the Moon (5:24)
  2. Another Fine Mess (3:28)
  3. Scars (5:04)
  4. Never Trust a Blonde (5:19)
  5. Psycho Girl (2:48)
  6. My Revolution (4:08)
  7. Good Girls (4:01)
  8. Red Letter Day (5:11)
  9. Invisible Strings (3:53)
  10. Everyone's a Fool (2:41)
  11. Junkee Love (2:46)
  12. The Other Man (5:23)

Running time: 50m 12s

Review

This 1995 album is an oddity. Not quite a full solo album, but more than just a collaboration. It started life as a project by Norwegian keyboardist Casino Steel with Ian invited to sit in in the studio. It soon became much more than that, with Ian writing a number of songs (some of which were written in the studio) and contributing to a few others. More importantly, it marked the return of Ian to the recording studio following the death of his long-time friend Mick Ronson.

With vocal duties shared as well this has something of a "band" feel to it. Despite being recorded at a number of studios, it also has a good live feel to it, which is no bad thing. Dancing On The Moon opens things up nicely, while Another Fine Mess looks back to life on the road with Ronson. My Revolution is another standout track, this time looking back to Ian's Mott days - fans will appreciate the reference to "a revolution for fun", while Ian acknowledges the advancing years in the next line with "you'd better lock up yer mums!" Sheer brilliance.

Darrel Bath's Never Trust a Blonde is great fun, as is Honest John Plain's Psycho Girl and Good Girls. All have a good, earthy 1950's rock n roll feel to them. The album ends with a trademark Ian weepie, this time the great The Other Man in which he forgives his lady but not the guy who shagged her.

This album originally came out with little fanfare in 1995 on a small Norwegian label, with the US label Cleveland International also picking it up. In the days before Amazon, etc, it meant getting hold of copies in the UK was difficult (but not impossible). This release on Cherry Red, therefore, makes it the first time this album has been available in the UK. This time round you also get a good booklet, explaining the background to the recording of the album.

This is a fun album. Not Ian's best but by no means his worst and certainly worthy of consideration.

Invisible Strings3:53Originally issued on Ian Hunter's Dirty Laundry.

Wednesday, July 12, 2023

A landscape of conflict? Rural fortifications in the Argolid (400–146 BC)

 A landscape of conflict? Rural fortifications in the Argolid (400–146 BC). Abingdon: Archaeopress, 2022. Pp. 328. ISBN 9781789699708

Preview

 

Archaeologists who research rural landscapes have long known that asking locals is often the most efficient and most reliable way of finding certain types of sites like towers and fortifications. Yannis Pikoulas famously turned this practice into an art form, identifying and cataloging a vast number and variety of rural sites with his kafeneio (coffee-shop) method of extensive survey.[1] Yet while scholars have benefited from local knowledge, it has been less common for them to agree with the functions that locals (at least in this reviewer’s experience in the western Argolid) often associate with fortified structures: as local places of refuge in times of crisis.[2] It has rather been more common for fort-seekers to interpret them as traces of an elaborate regional defensive network organized by a powerful political authority. This interpretive framework has been challenged, however, by scholars who argue that rural fortifications fulfilled a variety of functions. This ongoing debate informs Anna Magdalena Blomley’s approach. She systematically collects the archaeological evidence for 146 rural fortifications in the Argolid that can be plausibly dated to the late Classical or Hellenistic periods (4th–mid 2nd century BCE), and subjects them to a series of rigorous and sophisticated analyses in an effort to understand their emergence and functions.

The book consists of eight chapters, a catalogue of fortifications, and an appendix. Blomley begins (ch. 1) by laying the foundation for her project, briefly surveying the history of fortification studies and defining her research area as “the territory of Argos and…Akte” (5). Thus, she defines the Argolid rather broadly, stretching from Kleonai in the north to Zarax in the south, and from the slopes of the mountain ranges that mark the edge of Arkadia on the west to the southern Argolid on the east. Chapter 2 discusses the landscape of the Argolid and includes sections on geomorphology, paleoclimate, and ancient land use. With the stage set, Blomley can begin her study of the fortifications in earnest, starting with a typology of fortifications (ch. 3). She adopts Sylvian Fachard’s classification of fortified settlements, forts, towers, and drystone circuits, a typology that has worked well elsewhere in Greece and is appropriate for the Argolid.[3] Chapter 4 addresses the thorny issue of chronology. To some extent, features such as architectural forms (types of gates, towers, etc.) and masonry styles can suggest probable construction dates, but there are difficulties with these dating methods, and Blomley addresses them directly. Yet it seems that masonry styles suggest a chronological pattern in her dataset; by correlating masonry styles with dates derived from independent evidence (written sources, finds from excavations or surface collections, or specific architectural forms), she is able to propose a “rudimentary ‘local masonry chronology’” (44).[4] Even if it seems inevitable that this chronology will be modified by future work, it allows Blomley to tentatively assign rough dates to ca. 65% of the fortifications in her database. This is a critical step, since it makes an (admittedly coarse-grained) historical analysis of the fortifications of the Argolid possible. In the last of the introductory chapters (ch. 5), Blomley sketches the region’s political geography and settlement patterns. Although both are poorly understood, she makes effective use of past archaeological and topographical research, including the results of four intensive archaeological surveys.

Chapter 6 is the most substantial analytical chapter. Blomley subjects her geospatial (GIS) database of fortifications to a number of tests: the relationship between fortifications and roads, the latter modelled by least-cost-path analyses; the intervisibility of fortifications, to test the possibility that they served as watch-posts or signal-stations in a complex interlocking visual network or networks; and the relationship between fortifications and the territories of city-states, to understand what role rural fortifications played in defensive strategies. She concludes that most fortifications in the Argolid addressed small-scale, local (rather than regional) concerns; they do not provide evidence for the large-scale campaigns attested in literary sources. Chapter 7 explores additional potential functions of these sites as places of refuge for local populations or as primarily agricultural installations (farm towers), and concludes that there are good reasons to regard both functions as plausible, especially in cases where there is no obvious military explanation.

Blomley’s conclusions are compelling: most fortifications in her study area were “built for local ‘civilian’ communities” (127), were largely focused on small-scale conflict, and were structures with multiple and overlapping functions. This suggests to Blomley, rightly, a degree of local autonomy that is corroborated by other sources of evidence, historical and archaeological. From these conclusions, a number of lessons follow. First, fortifications diverge significantly across southern Greece: there is no one single pattern of rural defenses. Second, the fact that Blomley can make a number of convincing inferences about rural fortifications despite poor chronological control confirms, if proof were needed, the efficacy of landscape-based studies, especially when enriched by geospatial analyses using GIS. Third, rural fortifications can make significant and novel contributions to the study of socioeconomic aspects of ancient life, in addition to their obvious relevance to military history.

The 130-page catalogue of fortified sites that follows the bibliography is extremely valuable and represents an enormous amount of work. Each entry includes basic information such as altitude, location, size, masonry style, associated finds, date, and bibliography, as well as a description and commentary, and in most cases a plan and multiple high-resolution color images. Indeed, one of the great strengths of the book is its extensive use of high-quality illustrations throughout, many of which are GIS-generated maps and digital photographs of fortified sites and their landscape context.

This book is a great success: it is empirically rich, analytically rigorous, and it asks and answers important and interesting questions. Indeed, it represents a substantial and timely contribution to a scholarly debate about the role of rural fortifications in the Greek world. Blomley’s analysis is heavily indebted to Fachard’s “Landscape Approach” to rural fortifications, which criticizes the tendency to understand fortifications as mere cogs in well-organized regional systems of defense that emerged in specific historical moments; Fachard advocates instead for holistic analyses that account for topography, settlement, road networks, agricultural resources, and so on.[5] This landscape approach is in turn strongly influenced by modern archaeological pedestrian survey, which treats rural fortifications as just one form of evidence for diachronic patterns of past human activity of various kinds, often with heightened sensitivity to the micro-regional context. In many parts of Blomley’s study area, we lack the rich historical and archaeological context that would enhance our understanding of individual fortifications, but this book effectively demonstrates that even in the absence of fine-grained data (the sort provided by excavations and intensive survey), careful analysis and judicious assessment of the extant evidence can yield insights at scale. It thus deserves a wide readership of ancient historians and archaeologists, especially those with interests in military history, ancient landscapes, and rural life.[6]

 

Notes

[1] Ι.Α. Πίκουλας, Ὀδικὸ δίκτυο καὶ Ἄμυνα. Ἀπὸ τὴν Κόρινθο στὸ Ἄργος καὶ τὴν Ἀρκαδία (Athens: Horos, 1995), 11.

[2] Cf. J. McInerney, The Folds of Parnassos: Land and Ethnicity in Ancient Phokis (Austin: University of Texas Press, 1999), 110, citing F.B. Welch, “The Folklore of a Turkish Labour Battalion,” Annual of the British School at Athens 23 (1918–1919): 123–125.

[3] S. Fachard, “Studying Rural Fortifications: A Landscape Approach,” in Ancient Fortifications: A Compendium of Theory and Practice, edited by S. Müth, P.I. Schneider, M. Schnelle and P.D. De Staebler (Oxbow: Oxford & Philadelphia, 2016), 207–230.

[4] The correlation of masonry styles and chronology is laid out in the Appendix.

[5] See Fachard (supra n. 2).

[6] I noted few errors, which were mostly confined to the bibliography: e.g., the title of Fachard 2012 should be La défense du territoire: étude de la chôra érétrienne et de ses fortifications; Fachard 2020 is in fact co-authored by Fachard, Murray, Knodell and Papangeli; Πέππα (genitive) should be Πέππας (nominative) throughout.


Tuesday, July 11, 2023

If The Slipper Don't Fit, Ian Hunter, Alien Boy out take, Tilting The Mirror - Rarities (box set only).

This instrumental is an All American Alien Boy out take and is only available on Tilting The Mirror-Rarities (box set only). As with numerous Hunter releases the out takes either did not fit the rest of the release or were never finished. This one sounds like a demo that didn't make the cut. 


If The Slipper Don't Fit3:06This Alien Boy out-take can be found on Tilting The Mirror - Rarities (box set only).

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