The Cornershop: November 2007

2007/11/29

Blood makes noise!

And sharks smell it : from 4 to 10 online but no one has time enough to leave a short thanx! poor poor people! What an horrible life you have! :)

The Man in the Windy City. Radio Broadcast, 1992.

Drop a line from time to time. It's a community, not exactly a self(ish)-service...

The Man in the Windy City, Chicago. Dedicated to Lou for the town and to Dave for the soul spirit in this gig.

Bad sound in the very beginning of the show and it becomes better, with a real radio quality. The "Yeh" version is amazing and the band plays in a very soulful spirit. Jacko is on saxophone. "Round and Round" is awesome, too. The crowd is very enthusiastic. You can feel that the band and Paul had something to prove and to defend. Highly recommended. ;) "Man In The Cornershop, with a nice squeak to start, is dedicated to us... I mean the people who have been with Paul a long time! :) Very nice version of "Long Hot Summer," almost acapella at the end.

Very good gig. The perfect bridge between TSC and the second part of the solo era. Great!

Man in the windy city, part one, rapidshare
Man in the windy city, part two, rapidshare
part two, savefile, if you don't want to wait.

Scroll down to find the orange button on savefile page.

All the best, enjoy your friends this weekend!

2007/11/28

This media player doesn't use codecs.

If you have many problems to read some files (divx 3), try this player. It uses no codecs and read almost everything.

Download VLC Media Player

Complete JD set video. 2006.

Koko club, Part one
Koko, Part two
Koko, Part three
Koko, part four
Koko, part five
Koko, part six

Download the whole pack, unrare it and play! You have to be patient, download every part (two parts a day?) but it deserves the patience!

Thanx to Jan Noorda for the sleeve design!

NOT FOR SALE!

2007/11/27

Tattoo you! Chicken skin music?

What are you waiting for, Bruce?

From Jeff Slate (thanx), an article on line.

Never mind the Pistols, here comes the jam

Manu looks for art cover. Help him, please! :)

Somebody can send to me the artwork for :

"SAN FRANCISCO WARFIELD THEATRE - SAN FRANCISCO (8-FEBRUARY-2003)",

there am lost my copy.

Thanks

Manu Gomez

Mail

All or nothing?

The survey results appeared yet! Everyone wants everything!

Coming soon: your backstage pass for the JD Set, Koko Club, on video.

2007/11/26

Slow down! :)

Hi gang,

I have many messages that say that you haven't time enough to digest everything... So take your time and browse every post since the beginning! :)

I do understand and I will slow down a little bit.

I just wanted to start this blog in the best way that I can. I will try (Dave's good advice) to rate the gig, the sound, to find the artwork, etc. and to upload videos in many rapidshare files (you unrare the files only when you have everything and it works).

Will also try to upload articles and press.

Thanx to all the people who help, Marco and Dave first! :) They are generous and cool with me. Marco designs the sleeves and Dave corrects my English mistakes, etc. Top Blokes.

All the best to everyone! :) Keep the faith, belief is all.

Yann (Dave, Marco, Jean Christophe...)

Slow time Monday.

Won't be home tomorrow, so you will have time to dl from rapidshare (every three hours or something) and I'll be back Tuesday or wednesday. I'm really busy this week. All the best! :)

Yann

2007/11/25

The Jam in New York, Ritz, 1981.

Download link

The Style council, Alabama Halle

[ partial setlist, from German tv broadcast ]

MY EVER CHANGING MOODS
YOU'RE THE BEST THING
IT JUST CAME TO PIECES IN MY HANDS
THE WHOLE POINT OF NO RETURN
HAVE YOU EVER HAD IT BLUE
ME SHIP CAME IN
LONG HOT SUMMER
MONEY GO ROUND

October 29 th, Germany

Boston, Mass, July 2001, The Dizzy gig.

Actually, Elizabeth asked me to find this gig... And luckily, I have it...

26 th July 2001

Boston 2001, Part one.
Boston 2001, Part two

It's fabulous Soulbrutha Dave's recording and he wrote that in the comment section:

This, most assuredly is my recording. It was a super gig in a great venue. The best part was when a young lady came up to give Weller a rose and, for some reason, an Elvis Presley CD of which PW replied, "Elvis has left the building." He then politely handed it back to her. Classic!!

To Dizzy Lizz, the other side of the lens, the artwork framed serie.

A very nice collection of 25 Photos.

LINK to DL

1992's magazine. Vox. Original article and Photo.

Paul Weller. He laughs, he smiles, he looks inward, he finds himself. But finding a record company to release his latest album—now that's another matter...

I can't see myself ever moving back to a major label. If I put any records out, they'll more likely I than not be released on my own independent Freedom High label." When he spoke to VOX in January of this year, Paul Weller was confident that he had the whole world in his hands. Despite having parted company with Polydor, who had rejected his last Style Council album a matter of months earlier, Weller assumed the air of a confident man. A man who had decided to play things his own way no matter what. Yet here we are, six months later, back-stage at the 3,000 capacity Warfield Theatre, San Francisco, and he's pondering again.

"I really think I've found myself with this album," he says, pausing to shake another Marlboro Light out of its crush-proof packet. "It may sound a bit odd sitting here and talking like this. But what you hear is what you get." Weller had exhibited the same New Age reflection after his show at L.A.'s open-air Greek Theater a couple of days previously, lounging by the side of the pool in his favourite hotel. But under 80 degrees of sunshine that can turn an unsuspecting pale English skin lobster-red inside 45 minutes—"it can do your 'ead in if you're not careful"—you can find yourself saying anything.

San Francisco is different. It may no longer be the hippy haven of yore, but it's still the flower in the hair of the California coastline. It has echoes of a special magic—and Weller has been sampling it, riding cabs and tramping streets in search of the lost photo opportunity. Up to the top of Knob Hill and down to Fisherman's Wharf, and then along to the foot of the Golden Gate Bridge he goes, with lens man Watson snapping all the way. For those who think all this "found myself" business sounds like Me Generation stuff—not quite what you'd expect from Post-Modernist Paul—we are in 'Cisco; and if you're going to get introspective in the US, here is probably the place to do it.

Judging by appearances, Paul Weller is a changed man. Relaxed and happy, he laughs, smiles, cracks jokes and is plainly content with the hand life has dealt him. And that, in itself, is something new. "I used to feel terribly guilty about everything," he says. "The money, the lifestyle, the hotels and stuff. Now I just think that I worked fucking hard for it all. So why shouldn't I enjoy it?"

Weller still maintains a political edge, aggrieved at the way Tory policies have duped the British people. "They've made them lose their houses and their businesses and persuaded them to buy shares in things they owned anyway," he says. "Have you met some of those people?" he continues. "When you actually get into the Houses of Parliament and see what's going on, you discover it's not about ideologies at all—it's about power and money. All the time it's the little people who get fucked over." Now a father of two, he worries how kids can grow up with any respect, "when all they see is a social system which shows less and less respect for its own people."

In spite of his dismissal of today's pop music, Weller refuses to eulogise the late-' 70s. "Most punk stuff was just posturing and rhetoric and bullshit. The Clash and the Pistols and maybe The Jam had something real to say. But many of the bands that followed only wrote about dole queues and kids on the street, because that was what you had to do to get record deals and get in the charts. You don't think 999 really meant it, do you? And at the end of the day none of that stuff said as much as a Smokey Robinson song, did it?"

Paul Weller is working his way back to Britain after nearly a month in Japan, where his new album, simply entitled Paul Weller, sits securely at the top of the charts. Bearing in mind that the record won't be released in the US until the autumn, Weller has suddenly found himself one step ahead of the game. From the Ritz in New York to Los Angeles' prestigious open-air Greek Theatre, the former Jam purveyor and Style Councillor has been filling venues normally reserved for the highly hip and the hotly happening. His father John, still manager and still on the road, is over the moon. "It's all been a gamble," he admits in an unguarded moment. "But it's certainly paid off."

It's certainly a step forward from 1989, when Polydor unceremoniously rejected the fifth Style Council album, and keyboard cohort Mick Talbot split to take up a new career as a producer with the likes of Galliano. Weller was left weighed-down with a failed record company (Respond), struggling recording studio (Solid Bond), and a reputation for being 'difficult'. It looked like the end of the line.

"You learn by your mistakes, don't you?" comes the philosophical riposte. Enforced time off enabled Weller to take stock of his strengths, which were plainly not as an A&R man, label boss or studio proprietor. Weller was proud of Solid Bond, the Marble Arch recording facility that had once been owned by Philips and played host to legendary sessions by the likes of Dusty Springfield and The Walker Brothers. But in a get-out-now-or-sink-without-trace move, Solid Bond went under the hammer at the end of 1990. The Wellers decided to invest what little money they received for it in Paul's next album. With no record company to bail them out, they booked six weeks in Comforts Place, a deep Surrey residential studio bought in 1984 by Bucks Fizz managers-cum-producers, Andy Hill and Nichola Martin.

"The whole album was recorded with just me, Brendan Lynch (who was house engineer at Solid Bond) Steve White on drums and Jacko Peake on saxophones and flute. I'd never been away to record like that before, and it was a real pleasure. I sort of had the songs written before we started, but a lot of them developed out of the three of us jamming away, and taking the songs in freeform directions which were never planned.

I found I could do more of the things that I hear in my head," says Weller. "That always used to get me so frustrated, hearing what I should be doing but not being able to get there.

But has he limited his chances in today's dance-conscious marketplace.

"I don't think I've got much to do with modern pop," he answers. "I've been around long enough to be outside of it. People may say I'm being brave or stupid, but I'm just doing it the way it comes out—which is all you can do if you want to make music with integrity. If you start chasing markets and thinking formats, you end up vanishing up your own arse. I'm not making any direct comparisons, but I feel I'm like Van Morrison or Eric Clapton. I don't have to worry where I fit into today's marketplace."

Just the sort of thing your average A&R man doesn't like to hear, of course, and no doubt a major reason why the Wellers had such difficulty finding a taker for the album. It was only a deal with Japanese label Pony Canyon, struck shortly after last Christmas, that finally freed up sufficient capital to mix the LP. Fate struck again when a projected deal with Virgin satellite label, Circa, was scotched by the EMI buy-out, but luckily Go! Discs supremo Andy MacDonald stepped in at the eleventh hour, and Weller left for his Japanese dates with the ink barely dry on the paper. MacDonald says he was unafraid to take the album, "because Paul's gig at the Warfield was an experience without parallel.

Honed to a fine edge by nearly a month on the road, the Paul Weller band—drummer Steve White, former Orange Juice percussionist Zeke Manyeka, ex-Central Line and Hindsight Britfunker Camelle Hinds on bass, Helen Turner on keyboards and Jacko Peake on saxophones, flute and harmonica—proved themselves an intuitive outfit, stretching and straining the songs into new and more satisfying shapes, adding extra textures and some shimmering new colours.

Come the encore, Weller picked out the opening chords to the Style Council's languid 'Long Hot Summer', but before he could make it to the bridge, the stage was invaded by a bevy of Califomian beauties, eager to show their appreciation the American way—by swamping him under a deluge of kisses.

When he finally came back up for air, Weller was wearing a grin very nearly as wide as San Francisco's Golden Gate Bridge.

VOX November 1992

Aylesbury, friars, 1979, audience recording.

GIRL ON THE PHONE
TO BE SOMEONE...
BURNING SKY
SATURDAY'S KIDS
MR CLEAN
LITTLE BOY SOLDIERS
WHEN YOU'RE YOUNG
THE BUTTERFLY COLLECTOR
PRIVATE HELL
THICK AS THIEVES
AWAY FROM THE NUMBERS
SMITHERS JONES
IT'S TOO BAD
STRANGE TOWN
DOWN IN THE TUBESTATION...
THE ETON RIFLES
ALL MOD CONS
DAVID WATTS

Download link

Mad about ska's new blog! :)

http://thebeeftheoriginalandthecover.blogspot.com/

Fred, a fellow splinterite, started a new blof few days ago, check it! :)

1980, Japan Tour, Nippon Seinekan, 08.07

Thanx a lot to Andy Kelly who sent me the sleeve, designed by Marco.

Part one
Part two

Splinters... Who are we?

Splinters: NOT FOR SALE.

Group Email Addresses

Post message:	splinters@yahoogroups.com
Subscribe:	splinters-subscribe@yahoogroups.com
Unsubscribe:	splinters-unsubscribe@yahoogroups.com
List owner:	splinters-owner@yahoogroups.com

The Splinters' group

Newcastle 1980, the audio version (full gig)

Sleeve by Manu.
Very good sound from vinyl.

Part one
Part two

2007/11/24

Video: Newcastle 1980, Granada TV.

Newcastle gig, 1980.

Videos:

Going undeground
Pretty green
Eton rifles
To be someone
A bomb in Wardour street
David Watts
Boy about town.

Part one
Part two
Part three
Part four

Enjoy! :)

Many thanx to Jeff Knight, one of my american friends, who let his computer open to let me DL it! All the best Jeff! :)

Song 6, Aston Villa 2000.

6) Peacock suit. DL here.

The song was missing but I've found another source.

Thanx to add a comment in the c box! :)

More than 50 downloads and ONE thanx.

Looking for art cover! :)

JAM

NEW-YORK 31.03.78

AYLESBURY 17.11.79

LOS ANGELES 21.04.79

SOUTHAMPTON 24.11.79

LONDRES FINSBURY PARK 03.12.79

TOKYO 10.07.80

FINLANDE RUISROCK FESTIVAL 09.08.80

PRESTON 05.07.81

STAFFORD 01.10.82

MANCHESTER 07.12.82

PAUL WELLER

LIVERPOOL 24.04.91

NORWICH 21.06.92

NOTTINGHAM 21.11.93

HIROSHIMA 21.10.94

POOLE 24.08.95

TOKYO 20.10.97

LONDRES 17.12.97

GRAZ 27.04.06

MANCHESTER 27.11.06

DANCIN’ ON A WEDDING (compilation)

TV COMP 93/97

6 MIX

Write me if you have it, please! :)

Live aid, TSC, four tracks.

Download link

Aston Villa Leisure center, May 2000.

Sleeve desing by Manu.

Aston Villa, part one
Aston Villa, part two
Song 6

2007/11/23

Nakano Sunplaza, 1981. Tokyo legendary night.

Sleeve design by Manu Gomez.

Nakano, Sunplaza, Tokyo, 16 May 1981, Part one
Nakano, Sunplaza, Tokyo, 16 May 1981, Part two

Splinterites' Summit and Vredenburg 1997 bootleg.

Jean-Christophe Roche (on the left) and me, Yann (right), yesterday evening. We had a very open conversation and because we are not total Weller freaks, we talked about many differents subjects: Weller-Band, Weller-Live, Weller-Books, Weller-guitars, Weller-cds, Weller Boots. Quite varied, don't you think? This top geezer brought me more than 15 cd's full of bootlegs! :)

He told me that one of his all time favourites is the Vredenburg, 1997. So let's publish it tonight! :)

Vredenburg 1997, part one.
Vredenburg 1997, part two.