The Misery of Cities

Let The Snakes Crinkle Their Heads To Death: Felt's Most Collectable Release?

2011-11-13T17:40:00.000-08:00

The story of Felt's 1986 all-instrumental LP Let The Snakes Crinkle Their Heads To Death is a compelling read no matter how you approach it. As both a follow-up to the 1985 Indie chart-topper Ignite the Seven Cannons (which spawned the indie-classic 'Primitive Painters'), and the first full-length (well, sort-of) release for new home Creation Records, calling Snakes 'a change in direction' could not be more of an understatement.

True, Ignite the Seven Cannons was Felt's last release for Cherry Red, their label since their 1981 debut, Crumbling The Antiseptic Beauty. Also true is that Maurice Deebank had quit Felt for good shortly after the release of Cannons, leaving Lawrence the lone songwriter, and guitarist. Change was clearly in the air.

The first single for Creation, 'Ballad of the Band', was an obvious reference to Lawrence's split with Maurice Deebank, as he saw it; musically, the song fit in well with the other Creation releases of the time. (Highly recommended: the label's landmark CD-only compilation Creation: Flowers In The Sky 1984-1987.) The single (and 12") was produced by Robin Guthrie, just as Ignite The Seven Cannons before, so it must have appeared at the time that Felt's transition from Cherry Red to Creation was going smoothly.

But nothing could have prepared Creation for what Lawrence delivered as Felt's first album for the label: ten instrumentals totalling 19 minutes, and all within the perplexing title Let The Snakes Crinkle Their Heads To Death. Needless to say, the album confused the fanbase, confused the label, confused everyone, and thus failed to chart. But the follow-up, Forever Breathes The Lonely Word arrived so quickly after Snakes that old fans breathed a sigh of relief, and a new group of Felt fans bought into the cult of Lawrence and co. So if Snakes was merely a warm-up to Forever Breathes The Lonely Word, the other 1986 album which, to this day, is unanimously recognized by fans and critics as Felt's best album, then so be it.

Yet even in the years since its 1986 release, Snakes has taken a sort of mythic place among the Felt discography. It is still proudly among the '10 albums in 10 years' in Felt's legacy. When Cherry Red launched the full 'Felt Reissue Series' in 2003, there was Let The Snakes Crinkle Their Heads To Death, faithfully released in its rightful order as 'Number 6'. The album, though, is still beyond classification. David Cavanagh, author of The Creation Records Story (2000), gave it his best shot: 'short instrumentals moving between movies and muzak'. At Discogs.com today, the release's 'Genre' is classified as 'Lounge', 'Intrumental', and 'Avantgarde'.

Collecting Let The Snakes Crinkle Their Heads To Death has also proved to be as mysterious, and only when one looks at the entire release history (in its current state). Using Discogs as the starting reference point - since we have posted three of these unique Snakes releases there ourselves - there are currently seven releases of Snakes as a stand-alone release. (There have been two occasions when Snakes was paired with another Felt release, but for the purpose of this essay will not be included.)

Let's begin with the original Creation Records LP release from 1986 (CRE LP 009):

Or is it? Going back to 1986, searching the 'F' bins at every records shop was a certainty. This was a time before an Internet, before a 'discography'; so for someone who lived in the U.S. and couldn't afford the NME or other U.K. publications, the only way to see if there was a new Felt, Killing Joke, Smiths, Cocteau Twins, New Order, etc., release was to check the bins - and often. And we're sure glad we did, because one day we came across this:

What was this? Was this the first version of the release? Was it a 'test pressing'? Everything was the same as the other release (catalogue #, run-out groove, LP label, etc.), except for that front cover photo. Even when we posted this 'variant' on Discogs, the mystery has only deepened. While there are other people who own this version, there is still no answer as to why this Snakes cover photo has only appeared once.

However, perhaps the only 'clue' we have been able to uncover that this version was in fact the first pressing was revealed courtesy of the inner sleeves of the copies in our possession: The date on the sleeve of the 'standard' release shows '11/86', while the date on the 'variant' release shows '2/86'.

Creation Records was one of those unique indies that embraced the CD format early, and often. In 1991 alone, Creation released 39 CD's, most of which were label and band compilations. The first three albums Felt recorded for Creation were given their first stand-alone CD releases in 1991, Forever Breathes The Lonely Word, Poem Of The River, and Let The Snakes Crinkle Their Heads To Death (CRE CD 009):

This first CD release, while faithful to the 'original' vinyl version, did have a different band photo inside the booklet:

But these Creation releases would not be on the shelves long. Lawrence, who was heading Denim at the time of these initial CD reissues, was not pleased with Creation's handling of the Felt back catalogue on that label. In his March 1993 interview in Record Collector, Lawrence detailed his vision of the entire Felt back catalogue (Cherry Red and Creation) having a 'generic' look. Hence, the 'Lawrence approved' CD version of Let The Snakes Crinkle Their Heads To Death appeared in late 1991 (with the same barcode as the previously released version but with a slightly altered catalogue number of CRECD 009):

'Generic' indeed. And seems all the more fitting for such an 'unclassfiable' release, too. Anyway, this version remained on the shelves until Creation folded in 1999. Now both Creation releases are collectable, with the original artwork version harder to find and thus more valuable.

The 1994 Japan CD release of Snakes on Epic/Sony (ESCA 5867) is interesting as it takes on the 'generic' look that Cherry Red was using for its own Felt back catalogue (interesting since Creation Records was still in operation):

Finally, and currently, the Cherry Red reissue, which is in a digipak format (CDMRED 235) and, inexplicably, resorts to a sticker on the front cover indicating the release:

From a collector's standpoint, Felt's Let The Snakes Crinkle Their Heads To Death is certainly a strange release with a strange release history. But much like the ten instrumentals that make up Snakes, the experience of discovering these various vinyl and CD versions for yourself can be, well, unclassifiable.

The Original Brian Eno U.S. CD Releases on EG

2010-10-03T14:50:00.000-07:00

As a collector and seller of first editions of CD's, I often see the Brian Eno CD releases catalogued incorrectly. Many people who have the 'Marketed and Distributed by Caroline Records' releases which were released in the United States and Canada in the late 1980's may be surprised to learn that these CD's are reissues; in fact, the entire catalogue of Brian Eno's classic LPs from 1973 to 1986 were originally released onto CD in the U.S. up to four years earlier by a small label located in South Plainfield, New Jersey, called JEM Records.

From 1983 to 1988 EG Records were released in the U.S. by JEM Records. When EG Records in the U.K. released its first compact disc, Brian Eno's Thursday Afternoon (EGCD 64) in 1985, it was also released in the U.S. by JEM.

A landmark release, Thursday Afternoon was a 61-minute single track which was perfect for the compact disc format. This original U.S. release can be identified by the 'Marketed by JEM Records, Inc.' copyright info on the bottom left hand corner, and back cover's absence of a barcode. The CD itself was made in France by M.P.O.

The following year, 1986, was a banner year for Eno, as EG Records released two Eno compilations, More Blank Than Frank on LP and Desert Island Selection on CD (EGCD 65), to tie in with the Rick Polydor/Brian Eno book More Dark Than Shark.

Once again, the original U.S. version has the 'Marketed by JEM Records, Inc.' copyright info on the back cover, and no barcode. The CD was made in England by Nimbus.

Starting January 1987, EG Records began releasing the entire Brian Eno back catalogue (along with other EG roster artists Roxy Music, King Crimson, Killing Joke, etc.) onto CD (using both EG and Editions EG imprints), and JEM Records remained the sole U.S. distributor. This first wave of Brian Eno releases can be identified the same way as Thursday Afternoon and Desert Island Selection - 'Marketed by JEM Records' on the back cover, as well as no barcode:

No Pussyfooting (with Robert Fripp) (EEGCD 2)

CD made by Disctec.

Fourth World Vol 1 (with Jon Hassell) (EEGCD7)

CD made by Disctec.

Ambient 1 Music For Airports (EEGCD 17)

CD made in England by Nimbus.

Ambient 2 The Plateaux of Mirror (with Harold Budd) (EEGCD 18)

CD made in Japan.

Ambient 4 On Land (EEGCD 20)

CD made in England by Nimbus.

Apollo Atmospheres & Soundtracks (EGCD 53)

CD made in England by Nimbus.

Another Green World (EGCD 21)

CD made in Sweden by CD Plant.

Before and After Science (EGCD 32)

CD made in Sweden by CD Plant.

Later that same year, UPC codes began to appear on all compact discs in Europe and the U.S. The Eno CDs released by EG in the United States were now 'Marketed by PARAS. Distibuted by JEM Records'. All of these and subsequent CD's were 'Made in U.S.A.'

Ambient 3 Day of Radiance (Laraaji) (EEGCD 19)

Here Come the Warm Jets (EGCD 11)

Taking Tiger Mountain (By Strategy) (EGCD 17)

Music For Films (EEGCD 5)

There is an anomaly of sorts, a rare merging of the past and present marketing hierarchy at JEM Records -- this version of the Harold Budd/Brian Eno CD 'The Pearl' (EEGCD 37). While it too has 'Marketed by PARAS. Distributed by JEM' on the back cover, it is the only such release without a barcode. All the other ones listed above have barcodes.

By 1988 JEM Records was clearly in financial trouble, as eventually Passport Records stepped in to help release the remaining back catalogue Eno CD's, of which there were just two:

Evening Star (with Robert Fripp) (EEGCD 3)

The back CD cover of Evening Star states it is 'Marketed by Passport Records. Distributed by JEM.' The below CD Discreet Music, meanwhile, has on its back cover 'A Passport Label. Marketed by P.A.R.A.S. Distributed by JEM.' Both of these releases have barcodes.

Discreet Music (EEGCD 23)

Sometime shortly after these final releases by Passport/JEM, JEM Records folded and Caroline Records took over the U.S. distribution of all the EG back catalogue. This made sense, since Caroline was owned by Virgin Records; and Virgin was already marketing EG Records releases in the UK. By 1991 Virgin bought out EG Records and began releasing every release from EG's rich back catalogue in the U.S. and Europe.

Over the years, it has become increasingly difficult to find the original EG & Editions EG CD's marketed and released by JEM Records, and now that Astralwerks, also owned by Virgin/EMI, has taken over the Eno back catalogue, I imagine the 1989 Caroline reissues will be difficult to find, too. Personally, I have always been partial to these original EG/JEM releases, as I remember eagerly waiting for the next Eno CD to be put out onto CD.

So the next time you come across a EG Records CD by Brian Eno, Roxy Music, King Crimson, or Robert Fripp, check out the back cover. If you see the iconic JEM Records logo, pick it up, as you've come across a true collectable!

True West - Preparing for the 'Paisley Underground'

2010-08-21T11:50:00.000-07:00

How is it True West are still unrecognized for their vital contribution to the southern California sound which emerged in the early-to-mid eighties? A sound that years later would be affectionately called the 'Paisley Underground'; a scene which also included The Dream Syndicate, The Rain Parade, Green On Red, and even The Bangles; a rich legacy which includes Rhino's superb 2005 Children of Nuggets 4CD box set?

So how can fans of True West, a band with a respectable recorded output and a line-up that included the multi-talented Gavin Blair and Russ Tolman, expect to settle for a mere 'you might also enjoy checking out' mention on page 18 of the Nuggets booklet?

They can't.

And neither can the fans of the other Paisley Undergound bands, as they're missing a vital part of the story. No matter if you weren't around in 1984 when True West released their first EP (on their own label, Bring Out Your Dead Records). True West is still waiting to be discovered today, whether you pick up the 2007 reissue of their debut album Hollywood Holiday on CD (which also includes the 1984 follow-up Drifters, along with three Tom Verlaine produced demos from 1983) or go back and get your hands on that first five-song True West EP, you simply will not believe what you've been missing.

For me, it began with the True West EP. From the frenetic drum roll and reverb-drenched salvo of the opening track 'Steps To That Door', I was hooked. What WAS this sound exactly? Psychedelic, sure, but in 1983? While The Rain Parade channelled The Byrds with 'What She's Done To Your Mind', True West somehow transported the Syd Barrett Pink Floyd to the 1980's. (As further evidence, a rousing cover of 'Lucifer Sam' opens side two.) The mixing on each track is the work of a band that knows exactly the sound it wants. Sometimes Gavin Blair's vocals are front and center; other times, they are nestled just behind Russ Tolman's guitar and Frank French's drums. Still gives me chills.

Since the debut EP was released before I discovered True West, I was psyched to find more stuff by them. When I found 1984's Hollywood Holiday, I was surprised to find all the songs from the True West EP were on it, along with three new tracks - 'And Then The Rain', 'Hollywood Holiday', and 'You'. When I saw that this LP was an import (on France's New Rose Records), I thought it was a great way to bring a near-flawless set of songs to a whole new audience. Sadly, this audience would only be in Europe, as this LP was not released in the U.S. Still, I was thrilled to find this album (Russ Tolman called it a 'mini-lp'), as the additional tracks meshed with the older tracks extremely well, and they even served as a hint of things to come.

I wasn't aware of it at the time, but 1984's Drifters reveal a band in transition. Yes, I could see there were more line-up changes, although core members Blair, Tolman, and Richard McGrath remained. Gone too were the psychedelics so prevalent on the True West EP. But behind the scenes, as the liner notes to the 2007 CD reissue reveal, there were tensions within the band during the recording of Drifters. Which is kind of sad, as I've seen this sophomore effort get a lot of well-deserved praise over the years. While there are some gems on Drifters - standouts include 'Look Around', 'Speak Easy', and a toned-down remake of 'And Then The Rain' - I have to admit I prefer the earlier True West sound.

Still, I was proud to call myself a fan. Drifters was released in the U.S. (on PVC Records), so I saw this as a positive sign. Another positive sign was the unexpected 1985 find of a True West bootleg LP entitled Dreams Forever. Ten tracks recorded in November 1984 in Charlotte, N.C. (obviously in support of Drifters), with the requisite poor sound quality: a sure sign True West had a loyal following.
(As further proof that being a True West fan brings you a never ending supply of surprises, this bootleg saw an official release onto CD, as The Big Boot: Live at the Milestone, by Bring Out Your Dead Records in 1998.)

It was always apparent Russ Tolman had aspirations. He was (and is) just so talented, and although I wasn't a big Dream Syndicate fan, I knew who Steve Wynn was, and I knew that Tolman was good friends with him. Since The Dream Syndicate had a much larger following than True West, it only seemed natural that Russ Tolman would set up a record label with Wynn (Down There Records), and eventually fly solo. When this did happen, as a fan of True West and Russ Tolman, I of course followed both paths.

1986 saw releases from both camps. True West released the 10-track LP Hand of Fate on Skyclad Records, while Russ Tolman released Totem Poles and Glory Holes on Demon Records in the U.K. and Down There Records (distributed by Restless) in the U.S.

The opening track of Hand of Fate, 'Falling Away', is the highlight for me, with its catchy hook, lush production, and Blair's energized vocals formulating a quintessential power pop song. As enjoyable as the rest of the songs are on the album, I couldn't help but draw comparisons to Wall of Voodoo's Happy Planet album, recorded after the departure of their vocalist/songwriter Stan Ridgway. Good songs, but each missing that vital component.

This is not to take anything away from either release. Russ Tolman's first solo album is a strong effort as well. In fact, I've sold more copies of this CD on my website than any True West release. 'Talking Hoover Dam Blues' and 'Play Hard To Forget' are instant classics, and the overall sound production is first-rate. It was a real treat to hear Frank French's drums again, as parts of this album harken back to the early True West sound (which is to be expected). The success of this first LP obviously set Tolman up for a productive solo career, while True West decided to call it a day in 1987 (sadly, after the sudden death of bassist Kevin Staydohar).

I have never stopped being a True West fan, and good fortune has always seemed to follow me when it comes to finding True West product. In 1989, a great year for True West followers, Skyclad released West Side Story, an 11-track collection of outtakes, demos, and live performances. While Trouser Press dismisses this posthumous release as a 'meager career appendix', I recommend it for the superior live version of 'Speak Easy' and t cover of the Stooges '1969'.

Also in 1989, New Rose Records released Hollywood Holiday and Drifters onto one CD. A great start for anyone curious about True West, this now impossible-to-find twofer has since been domestically released in the U.S. twice - first as 1992's Two True (on Skyclad), and again in 2007 as Hollywood Holiday Revisited (on Atavistic), the version currently in print.

This spectacular reissue offers the most comprehensive True West history, with extensive liner notes from both Russ Tolman and Magnet's Jud Cost. The glorious 20-page booklet is also packed with band photos and press clippings. In addition to the timeless 18 tracks that truly represent the best True West have to offer, this CD also includes The Verlaine Demos, three tracks produced by Tom Verlaine in late '83. (This amazing collaboration made it well worth my picking up Hollywood Holiday for the third time!)

In 1990 Skyclad released two different True West compilations in two different formats: Best Western on CD and TV Western on LP. Best Western is the one I recommend as it compiles four tracks from West Side Story, three from the TV Western LP, and four CD-only live tracks, including an unexpected, but extremely enjoyable, cover of 'Suspicious Minds'.

(To this day, both West Side Story and TV Western have not been released onto CD; nor has True West's final release, Hand of Fate. With Skyclad Records folded, who owns this material?)

For fans of Russ Tolman, there is also plenty to discover. I have not kept up with his entire career, but the times I've checked in, I've not been disappointed. Of particular interest is his Down There label's 1989 compilation (marketed by Restless) Only 39,999,999 Behind 'Thriller': Down There Records 1981-1988 which has tracks by The Dream Syndicate and Green On Red, as well as solo tracks by both Tolman and Steve Wynn. This compilation, which I never would have found without True West, allowed me the opportunity to fill in the gaps for other fine bands and singles I missed while tripping out to 'Steps To The Door' and 'Lucifer Sam'.

All this great music came out long before the term 'Paisley Underground' was coined. Certainly, the mega-success of The Bangles and Mazzy Star raised significant awareness to the underground scene of southern California (which, for some, offered a refreshing change of pace from the Jane's Addiction or Guns N' Roses 'scenes') to the post-MTV generation. Even after house, grunge, and Britpop had their respective days, there has always been an affectionate reminiscence associated with the 'Paisley Underground' bands - from a Magnet magazine cover story in 2001 (which also overlooked True West's contribution) to the must-have Children of Nuggets box set released by Rhino in 2005.

True West was my introduction to the Paisley Underground before such an place existed. My ongoing psychedelic period, which took me to Shoegaze in the late 80s/early 90s and to The Asteroid No.4 today, couldn't have happened without a certain little self-titled, self-released EP that truly showed me a world out there to explore.