The 4th album by Hole was a huge commercial achievement, successfully bridging the gap between Grunge and guitar Pop. Original vinyl copies of Celebrity Skin were made in small numbers – therefore making this first ever reissue a much needed one for the fans!
The South Korean/Japanese couple at the core of the group have built their ethos around a life lived in thrall to the
The six songs that comprise the first side of this album are a truly classic body of work, highlighted by the atomic blast of their only hit single “Seven & Seven Is”, the manic jazz tempos of “Stephanie Knows Who,” and the enchanting “She Comes in Colors”, perhaps Lee’s best composition (and reportedly the inspiration for the Rolling Stones’ “She’s a Rainbow”). Closing the album is a 19-minute jam called “Revelation” that takes up the entire B-side of Da Capo.
On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith’s continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall’s most experimental and improvisational recordings. As proclaimed on the album cover, “Undilutable Slang Truth!” would be revealed throughout Room To Live.
With the album’s comparatively lo-fi production and always-teetering performances, the title track comes closest to a stab at pop (by The Fall’s standards), built on fantastically bent saloon swaying under one of Smith’s by-now characteristic dressing-downs of square life. “Detective Instinct” is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. “Marquis Cha Cha” is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure.
Superior Viaduct’s edition is the first time that Room To Live has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner.
The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band’s diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.
“Frightened” has magnetic attraction / repulsion that shifts between Martin Bramah’s skeletal guitar, Yvonne Pawlett’s plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith’s mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. “Rebellious Jukebox” takes yet another turn and showcases the band’s more melodic leanings.
One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band’s snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, “We are The Fall, northern white crap that talks back.”
Superior Viaduct’s edition is the first time that Live At The Witch Trials has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.
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