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The Psychedelic Furs - Sister Europe
#the psychedelic furs#sister europe#richard butler#tim butler#john ashton#r morris#duncan kilburn#vince ely#new wave#post punk#self titled#1980#Youtube
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Total Eclipse of My Art by Bonnie Tyler (EP - 1984)
The story of how mega-selling Welsh chanteuse, Bonnie Tyler, came to record a bizarre EP of Goth covers hinges upon the influence of Invented Records founder, Max Scratch.
This South London Svengali, equal parts Andrew Loog Oldham and Nosferatu, had a misfiring genius for pulling people into his vainglorious, chemically-driven visions and then completely fucking up their execution.
He genuinely loved nurturing leftfield talent – often willing to make a bet on the next big thing based on one gig in a dingey pub. Those bets were almost always completely wrong, as is evidenced by the continuing irrelevance of the Invented Records back-catalogue.
However disastrous his navigation of the music business, Max had two things that meant he was the most connected man in the British music scene during the 1980s: a seemingly never-ending supply of primo-grade narcotics – and copious amounts of blackmail material.
Some have described him as a gangster, but only after he disappeared whilst holidaying in Thanet during the summer of 1997.
Scratch’s base of operations during the 1980s was his Croydon nightclub, ‘Das Boot’. I’ll no doubt cover the tawdry history of this concrete sonic bunker at some point, but all you need to know for the purposes of this post is that on one star-crossed sweltering Saturday night in July 1984, Bonnie Tyler, Wayne Hussey of the Sisters of Mercy and Ian Astbury of The Cult were all sharing a booth in the Das Boot VIP lounge, hosted by the loquacious Invented Records impresario.
Tyler was an international megastar at the time, but her new single ‘Holding Out For A Hero’ was barely registered on the charts (though it would go to number 2 the following year). She was in London to promote the single, but felt it wasn’t her best work after the Wagnerian grandeur of her previous collaborations with Jim Steinman. She was looking for a new musical direction and, surprisingly, was a big fan of the rapidly evolving Goth genre. “I loved Bauhaus, Birthday Party, but especially the Sisters. I was handed a tape of their music by Duncan Kilburn from the Psychedelic Furs,” she later revealed in an interview. “I was recording in LA and the Furs were in the studio next door. Duncan was wearing a Merciful Release T-shirt and that got us talking. I listened to the tape repeatedly whenever I got a moment. It was so dark and raw – miles from the polished fluff I felt I was recording at the time.”
Having floated into Tyler’s circle via his acquaintance with her manager, Ronnie Scott, Scratch invited her down to Das Boot without knowing any of this.
The Sisters of Mercy had just finished recording their first album, ‘First and Last and Always’, but Hussey was increasingly estranged from Sisters lead singer, Andrew Eldritch, before the album had even been released. He came to Das Boot to discuss moving to Invented Records with a newly configured band.
Finally, Astbury of The Cult had turned up because he was shit-faced after a gig promoting recently released album, Dreamtime. He knew Scratch was good for cheap amphetamines.
In the booth that night, Tyler hit it off with both men, and, ever attuned to the main chance, Scratch offered to take them all to the Invented studio above the club for a jam session.
Pulling in a few random musicians from the darker corners of Das Boot, Scratch acted as engineer himself, as Tyler recorded some very rough one-take tracks with Hussey on lead guitar, and Astbury on percussion and backing vocals.
“It was amazing how great her voice was – she just kept belting out these amazing vocals, despite the epic intake of tequila and cigarettes,” Hussey said.
As dawn reluctantly illuminated Croydon’s cut-price imitation of the Manhattan skyline, Tyler was tracked down by her management and whisked into a limo. Perhaps, once sober, she realised that Goth wasn’t her future. Perhaps, fearing for their income stream, Ronnie Scott and Steve Wolfe persuaded her to drop the idea.
Either way, Bonnie Tyler continued in an increasingly mainstream musical direction. Even if she had any memory of that crazy Croydon night, it was quickly forgotten due to the whirlwind of touring commitments.
However, Scratch had not forgotten. Four of the tracks from that funereal jam session to would eventually surface on the EP, ‘Total Eclipse of My Art’, released by Invented in October 1984.
#rarevinyl#rarerecords#inventedrecords#record sleeve#vinylcollection#bonnie tyler#sisters of mercy#ian astbury#the cult#gothstyle#ukmusic#goth music#goth art
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ONCE IN 79’: Psychedelic Furs - "Imitation Of Christ"
ONCE IN 79’: Psychedelic Furs – “Imitation Of Christ”
“March 23, 1979
THE PSYCHEDELIC FURS play what they boast as their fourteenth gig, and get favorable review in Sounds from Nick Tester.
The group is Richard Butler on vocals, his brother Tim Butler on bass, Duncan Kilburn lends sax to the group and the guitars are played by John Ashton and Roger Morris. Paul Wilson plays drums. Veterans in…
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The Pretty in a Pink song is trans:
Caroline laughs and it's raining all day
She loves to be one of the girls
She lives in the place in the side of our lives
Where nothing is ever put straight
She turns herself round and she smiles and she says
This is it, that's the end of the joke
And loses herself in her dreaming and sleep
And her lovers walk through in their coaches
Pretty in pink, isn't she?
Pretty in pink, isn't she?
All of her lovers all talk of her notes
And the flowers that they never sent
And wasn't she easy?
Isn't she pretty in pink?
The one who insists he was first in the line
Is the last to remember her name
He's walking around in this dress that she wore
She is gone but the joke's the same
Pretty in pink, isn't she?
Pretty in pink, isn't she?
Caroline talks to you softly sometimes
She says, I love you and too much
She doesn't have anything you want to steal
Well, nothing you can touch
She waves, she buttons your shirt
The traffic is waiting outside
She hands you this coat
She gives you her clothes
These cars collide
Pretty in pink, isn't she?
Pretty in pink, isn't she?
Songwriters: T. Butler / John Ashton / Duncan Kilburn / Roger Morris / R. Butler / Vince Ely
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The Psychedelic Furs - Sister Europe (1980)
John Ashton / Tim Butler / Richard Butler /
Vince Ely / Duncan Kilburn / Roger Morris
from:
"The Psychedelic Furs" (LP)
"Sister Europe" / "* * * *" (Single)
Post-Punk | New Wave
JukehostUK
(left click = play)
(320kbps)
Personnel:
Richard Butler: Vocals
John Ashton: Guitar
Roger Morris: Guitar
Duncan Kilburn: Saxophone
Tim Butler: Bass
Vince Ely: Drums
Produced by Steve Lillywhite
Recorded:
@ RAK Studios
in London, England UK
during 1979
Single Released:
on January 25, 1980
Album Released:
in February of 1980
Columbia Records (UK | US)
#The Psychedelic Furs#Post-Punk#New Wave#1980's#1980#Steve Lillywhite#Sister Europe#Columbia Records#Richard Butler#Tim Butler#Vince Ely#Duncan Kilburn#John Ashton#Roger Morris
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Music* The Psychedelic Furs – Sister Europe / Pavel Banka – Figuration Music & Visions - projects selected by clanMC © 2017 Pavel Baňka The Psychedelic Furs…
#Czech Technical University#Duncan Kilburn#Inka Machulková#John Ashton#music#Paul Wilson#Pavel Banka#photography#Prague#Psychedelic furs#Richard Butler#Roger Morris#Tim Butler#Václav Hrabět#Vince Ely#vision#Vlaďka Čerepkov
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Tbh I don't care about the play or any show related to asoiaf because they will never going to be faithful to books and its themes. We have seen how they destroyed GOT for sake of money and appeasing mass. I will not be surprised the creators will aged up Lyanna or present Ratgar as a tragic hero to make it seems like some tragic romance. I just hope grrm release the books so we will get true story.
actually i disagree. according to what the writers and directors of the play are saying, it's going to be a shakespearean play
An amazing team has been assembled to tell the tale, starting with producers Simon Painter, Tim Lawson and Jonathan Sanford. Their knowledge and love of my world and characters has impressed me from the very first, and their plans for this production blew me away since the first time we met. Dominic Cooke, our director, is a former artistic director of London’s Royal Court Theatre, who brought Shakespeare’s dramas of the War of the Roses to television, and our playwright, Duncan Macmillan, has previously adapted George Orwell and Henrik Ibsen, among others. Working with them (back before the pandemic, when we could actually get together) has been a treat, and I am eager for our collaboration to resume. Our dream is to bring Westeros to Broadway, to the West End, to Australia… and eventually, to a stage near you … It ought to be spectacular.
this isn't going to be a play about rhaegar falling in love with a teenager. it's instead going to be about the power plays happening during the tourney.
And director Dominic Cooke: “I am over the moon at being given the opportunity, by the dynamic producing team of Tim Lawson, Simon Painter and Kilburn Live, to bring a new installment of George RR Martin’s epic story to a life on stage. One of George’s inspirations for the original books was Shakespeare’s history plays so the material lends itself naturally to the theatre. Duncan MacMillan and I are having a great time digging into the dynastic power struggles at the heart of George’s extraordinary imaginative world and he has been hugely generous and supportive towards both of us.”
not only that, the play is going to be critical of rhaegar
The play will for the first time take audiences deeper behind the scenes of a landmark event that previously was shrouded in mystery. Featuring many of the most iconic and well-known characters from the series, the production will boast a story centered around love, vengeance, madness and the dangers of dealing in prophecy, in the process revealing secrets and lies that have only been hinted at until now.
the main thing that everyone remembers about harrenhal is this
Robert had been jesting with Jon and old Lord Hunter as the prince circled the field after unhorsing Ser Barristan in the final tilt to claim the champion's crown. Ned remembered the moment when all the smiles died, when Prince Rhaegar Targaryen urged his horse past his own wife, the Dornish princess Elia Martell, to lay the queen of beauty's laurel in Lyanna's lap.
so the idea that elia will be absent throughout the play or she'll only show up in this moment so that the audience could see how strong rhaegar's 'love' is absurd. anyone who writes anything will understand that if you want a scene to pack a punch, you need to lay the groundwork so elia will be a main character and her humiliation will show exactly what sort of person rhaegar is.
this is why elia stans have been chill about the play. that r/l anon was just playing hyping up something that even their fellow stans have ignored.
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“The play is from producers Simon Painter and Tim Lawson (The Illusionists), in partnership with Kilburn Live, and will have a story by Martin, who is working alongside award-winning playwright Duncan MacMillan (1984) and acclaimed director Dominic Cooke (The Courier). The team’s goal is to debut productions in New York City, London’s West End and in Australia. The first show is expected to launch in 2023.”
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the psychedelic furs, despite being known as a through-and-through new wave act, actually had a wild musical trajectory that produced pop gems like the songs of mirror moves to, well, this self-titled work. released in 1980, it's the first furs studio album, and by a wide margin it is also the most experimental, being classified by a critic at the time as 'david bowie mixed with the velvet underground', which is certainly not a bad thing to be said about your first full shot in the studio. it contains tracks from punkish tunes like 'fall' and 'pulse' to mellow yet sinister and entrancing songs like 'sister europe' that fall more into post-punk than anything else. also, i HAVE to say that my favorite aspect of early furs is the saxophone above all else, and i'm so sad they dropped duncan kilburn later on. his ability to accentuate the emotion on this song (and this track specifically, which is why is selected it) is impeccable and rarely recognized.
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How the Game of Thrones Play Fills a Major Gap from the Series
https://ift.tt/3sCNs3M
Game of Thrones may have concluded its story in a divisively pyrrhic fashion, but the franchise wasn’t exactly left in ashes, thanks to a backlog brimming with several spinoff shows supported by creator George R.R. Martin’s purportedly eight-figure, five-year deal recently signed with HBO. However, it appears that the mythology, adapted from Martin’s novels, is set to invade another arena, a Broadway stage, with a Games of Thrones play now in development. Interestingly, rather than rehashing the show, the play will instead showcase a heretofore unseen storyline crucial to the hit TV series.
The Great Tourney at Harrenhal will serve as the backdrop for the gestating Game of Thrones play, which will hail from producers Simon Painter and Tim Lawson (The Illusionists) in partnership with Kilburn Live, according to THR. The production will carry necessary gravitas, since playwright Duncan MacMillan (1984) will work with Martin himself on the story, which is to manifest on the stage under the auspices of director Dominic Cooke (The Courier). The untitled play is planned for a 2023 premiere—in a hopefully post-pandemic world—for which productions are to launch on Broadway, London’s West End and Australia.
“The play will for the first time take audiences deeper behind the scenes of a landmark event that previously was shrouded in mystery,” reads the official description. “Featuring many of the most iconic and well-known characters from the series, the production will boast a story centered around love, vengeance, madness and the dangers of dealing in prophecy, in the process revealing secrets and lies that have only been hinted at until now.”
While the clashing concepts of Game of Thrones and a Broadway production might immediately evoke the imagery of an indulgently hokey musical rife with random, elaborately-choreographed song and dance numbers, this production centers on a story that’s specifically complementary to the eight-season-spanning television series, which not only had to alter its adaptation timeline to make certain concepts fit, but eventually surpassed the chronology of the source material, Martin’s A Song of Ice and Fire novels; a measure made necessary due to the author’s notorious, now-decade-long case of writer’s block for the would-be sixth and penultimate entry, The Winds of Winter. Yet, the play’s setting could prove pertinent to both the novels and TV series, on which it was discussed extensively, as exemplified by Littlefinger’s detailed account to Sansa, seen just below.
While Game of Thrones has showcased tourneys, they paled in comparison to the event in question. Frequently mentioned throughout the HBO series, The Great Tourney at Harrenhal is essentially the unseen inciting incident of the show. It took place in the Westerosi calendar year of 281 AC (After the Conquest of Aegon), the Year of the False Spring, which was about 16 years before the events of the main series commenced. With it being the most important event in Westeros, we can expediently expect the play to feature on-stage (younger) versions of familiar characters from the series such as Ned Stark, Benjen Stark, Jaime Lannister, Cersei Lannister, Tyrion Lannister, Tywin Lannister, Robert Baratheon, Oberyn Martell, Barristan Selmy and Jon Arryn, not to mention schemers like Littlefinger and Varys—essentially anyone who was old enough to have attended. However, the tourney’s initial significance to the mythology is not based on its results, but rather what occurred after Prince Rhaegar Targaryen emerged victorious in the joust, and a subsequent romantic act that would thrust Westeros into war and lead to the downfall of his royal house.
Read more
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Can the New Game of Thrones Spinoffs Redeem Missed Opportunities?
By Joseph Baxter
TV
Does Game of Thrones Really Need to Be a Shared Universe?
By David Crow
“The seeds of war are often planted in times of peace,” explains Martin in a statement. “Few in Westeros knew the carnage to come when highborn and smallfolk alike gathered at Harrenhal to watch the finest knights of the realm compete in a great tourney, during the Year of the False Spring. It is a tourney oft referred during HBO’s Game of Thrones, and in my novels, A Song of Ice & Fire … and now, at last, we can tell the whole story… on the stage.”
Notably, the tourney’s titular fortress location was featured in Game of Thrones’ second season, shown as being in disrepair by the time an incognito, revenge-driven Arya Stark stalked its halls while Tywin Lannister used it as a wartime base of operations. The 10-day event was historically known to be the greatest tourney of its generation, in which legendary knights of Westeros showcased their talents in competitive events such as the joust, horse-racing, melee, archery, axe-throwing and even singing. Pertinently, in the joust—the most important event—Rhaegar out-tilted the kingdom’s greatest warriors and, as winner, was tasked with the tradition of giving the floral gift of the Winter Rose to an attending woman to declare love or amorous intent as “Queen of Love and Beauty.” Yet, in a public act of defiance to his royal marriage of convenience, Rhaegar rode past wife Elia Martell to give the rose to Lyanna Stark, thusly revealing his secret love affair. Said act wrought chaos across the Seven Kingdoms, since it insulted Lyanna’s betrothed, Robert Baratheon, and the infidelity dealt to the Dornish Martell princess insulted the honor of her family, leaving Westeros’ most powerful houses irate.
HBO
Consequently, the Game of Thrones play will seemingly showcase the catalyst for the series-preceding war known as Robert’s Rebellion, a civil war in the Seven Kingdoms that pitted the alliance of House Baratheon, allies in the North the Starks and the opportunistic Lannisters (who kept the Dorne at bay with Elia and her children held as hostages,) against the ruling Targaryens. The climax of that colossal conflict—by way of a secret wedding between Rhaegar and Lyanna that gave the world Jon Snow—set the stage for the events of the series, the beginning of which saw the victorious Robert Baratheon years later as a drunken, uncouth, ennui-addled king in a loveless political marriage to Cersei Lannister, whose family was plotting elaborate machinations to procure the Iron Throne; a fraught hornet’s nest of a status quo that was shaken significantly by the schemes of Littlefinger, who was later revealed to have been behind the show’s initially dominant mystery, the murder of Jon Arryn.
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Regardless, the untitled Game of Thrones play is planned for 2023, by which point the first of HBO’s spinoff slate, prequel series House of the Dragon, will presumably have already dropped. While stage adaptations even of this caliber tend not to be considered canon to their respective franchises—save perhaps for Harry Potter and the Cursed Child—it could nevertheless prove to be of interest to a wide variety of consumers, be it Game of Thrones fans to frequenters who will pay to see just about anything on a proscenium stage to satiate a restlessness from the industry’s COVID-caused hiatus.
The post How the Game of Thrones Play Fills a Major Gap from the Series appeared first on Den of Geek.
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Psychedelic Furs Backstage At Tuts, Chicago Illinois, October 8, 1980. Photo by Paul Natkin.
Psychedelic Furs Backstage At Tuts, Chicago Illinois, October 8, 1980. Photo by Paul Natkin.
Pictured are, from left, Tim Butler, Roger Morris (fore), Vince Ely (rear), Richard Butler (fore), Duncan Kilburn (rear), and John Ashton.
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The Psychedelic Furs - Sister Europe
#the psychedelic furs#the psychedelic furs album#sister europe#richard butler#john ashton#tim butler#vince ely#roger morris#duncan kilburn#post-punk#new wave#alternative rock#music#music video#music is life#music is love#music is religion#raining music#80s
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West likes soundtrack albums from the 80's, and will occasionally play some of them at you! In this episode, West returns to the 80's Soundtrack Corner to play songs from the 1986 John Hughes production Pretty In Pink.
Music in this episode includes:
"Pretty In Pink" written by John Ashton, Tim Butler, Richard Butler, Vince Ely, Duncan Kilburn & Roger Morris; performed by The Psychedelic Furs
"Left Of Center" written by Suzanne Vega & Steve Addabbo; performed by Suzanne Vega
"Shellshock" written by Gillian Gilbert, Peter Hook, Stephen Morris, John Robie & Bernard Sumner; performed by New Order
"Elegia" written by Peter Hook, Gillian Gilbert, Stephen Morris & Bernard Sumner; performed by New Order
"Bring On The Dancing Horses" written by Will Sergeant, Ian Mc Culloch, Les Pattinson & Pete de Freitas; performed by Echo & The Bunnymen
"Try A Little Tenderness" written by Jimmy Campbell, Reg Connelly & Harry M. Woods; performed by Otis Redding
"Please, Please, Please, Let Me Get What I Want" music by Johnny Marr, lyrics by Morrissey; performed by The Smiths
"If You Leave" written by Andy McCluskey, Paul Humphreys & Martin Cooper; performed by Orchestral Manoeuvres In The Dark
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The Psychedelic Furs // So Run Down - Talk Talk Talk (1981)
#the psychedelic furs#so run down#talk talk talk#1981#richard butler#tim butler#john ashton#duncan kilburn#vince ely#roger morris#music#video#youtube
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The Psychedelic Furs // Soap Commercial - The Psychedelic Furs (1980)
#the psychedelic furs#soap commercial#1980#tim butler#richard butler#vince ely#duncan kilburn#john ashton#roger morris#music#video#youtube
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