Read Ebook {PDF EPUB} Alan McGee & the Story of This Ecstasy Romance Cannot Last by Paolo Hewitt Creation Records. Creation Records Ltd. was a British independent record label founded in 1983 by Alan McGee, Dick Green, and Joe Foster. Its name came from the 1960s band The Creation, [1] whom McGee greatly admired. The label ceased operations in 1999, although it was revived at one point in 2011 for the release of the compilation album Upside Down . Over the course of its sixteen-year history, Creation predominantly focused on alternative rock, releasing several influential indie rock, shoegazing, and Britpop records, but also featured bands performing various other styles of rock, including indie pop and post-punk, as well as some electronic, folk, and experimental artists. Early years. McGee formed Creation Records following the culmination of various projects including fanzine Communication Blur, his own rock outfit The Laughing Apple (with future guitarist and long-time friend Andrew Innes) and his running of the venue The Communication Club. Initially, McGee wished to provide an outlet for like minded musicians and an opportunity for young bands to see their work on vinyl; primarily the label was in opposition to the "manufactured" synth pop of the era that bore little resemblance to the work of his favourite acts including Public Image Ltd and the Sex Pistols. [2] McGee started the label by putting out the "'73 in '83" single by The Legend! after taking out a £1,000 bank loan. [3] Around the same time he started a club called The Living Room in Tottenham Court Road, through which he met several people who would go on to record for Creation, including Peter Astor and Lawrence. [3] Distributor Rough Trade soon began funding releases. [3] Creation was among the key labels in the mid-1980s indie movement, with early artists such as The Jesus and Mary Chain and Primal Scream. The Jesus and Mary Chain went to record for Warner Brothers in 1985, yet McGee remained as their manager. With the profits he had made from the band, he was able to release singles by label acts such as Primal Scream, Felt, and The Weather Prophets. McGee had enthusiasm and an uncanny ability to attract the weekly music media, and he was able to get a growing underground following. In their early days, he was able to project a notorious image of The Jesus and Mary Chain, which had often courted violence and loutish behaviour. The early years of Creation feature prominently in 2017 documentary Teenage Superstars. [4] Mid-period. Following an unsuccessful attempt to run an offshoot label for Warner Brothers (Elevation Records), McGee regrouped Creation and immersed himself in the burgeoning dance and acid house scene starting in the late 1980s. Those scenes had influenced Creation mainstays such as Primal Scream and Ed Ball, as well as newer arrivals such as My Bloody Valentine. Creation Records' releases at this time tended to be critically acclaimed without being major commercial hits. Creation had run up considerable debt that was only held off until McGee sold half the company to Sony Music in 1992. There were reports of McGee's escalating drug use, as well as numerous and conflicting reports of the label being nearly bankrupted after funding the two-year-long recording of My Bloody Valentine's 1991 Loveless LP. Sony years. After selling to Sony, Creation had signed Oasis, whose debut album Definitely Maybe became a huge critical and commercial success. The band went on to epitomize the cultural Britpop movement of the mid-90s. The success of Oasis was unprecedented for an act on an independent label. Their second album, (What's the Story) Morning Glory? became the biggest selling British album of the decade. In the 1990s, Creation launched the subsidiary, Rev-Ola Records, which was formed by Joe Foster. Rev-Ola is now a part of the PoppyDisc group of labels. The revitalised Labour Party took note of McGee's accomplishments with Creation. They got McGee to spearhead a media campaign prior to the 1997 General Election in order to appeal to Britain's youth culture. He was largely responsible for changing government legislation in relation to musicians being able to go on the New Deal which gave musicians three years to develop and be funded by the government instead of having to take other jobs to survive. Omnibus went on to make a documentary on McGee and Creation in 1998 for BBC One. Creation Records was awarded 'Independent Label of the Year' every year between 1995 and 1998 by Music Week, and McGee was awarded the NME 'Godlike Genius' award in February 1995. Dissolution. According to the documentary Upside Down , McGee and Foster opted to shutter Creation in December 1999 after McGee began to suffer burnout and disillusionment with the label. The label's final release was XTRMNTR by Primal Scream, issued in January 2000, shortly after the label ceased functioning. The dissolution of Creation Records in 1999 led to McGee and Foster forming Poptones. The label saw a return to the staunchly independent roots of Creation, and had most notably launched the career of The Hives in the UK. In May 2007, McGee told The Independent newspaper that he was winding down Poptones for financial reasons. [5] Upside Down, a film on Creation Records premiered at the BFI in on 23 and 24 October 2010. [6] It was released on DVD in the UK on 9 May 2011. [7] Additionally, a soundtrack album compiled by Joe Foster featuring 34 tracks which covered the entire career of Creation Records was released. This album was released on Creation Records, which was revived for the release of the album only. In numerous interviews in 2012 McGee said he was "seriously considering" resurrecting Creation Records. [8] On 1 February 2021, McGee launched the "It's Creation Baby" record label as the new incarnation of Creation Records. Discography. Principal bands or musicians. Infonet. Infonet was an electronic music sublabel to Creation Records, run by Chris Abbot. It was active between 1992 and 1997. Main bands on the label were Bandulu (with various aliases) and Reload. Infonet also released records with Andrea Parker and David Morley, Eddie Fowlkes, Sulphuric, Syzygy, among others. August Records. August Records was a short-lived Creation Records offshoot A&R'd by former Fire Records boss Dave Barker. It was active between 1992 and 1994. Acts included 18 Wheeler (later transferred to Creation), Eugenius (ex-Fire Records), Shonen Knife and Ween. Icerink. Icerink was a sublabel to Creation Records, run by Saint Etienne. It was active between 1992 and 1994. It released ten singles (by Shampoo and Earl Brutus, among others) and a compilation, We Are Icerink . [10] Ball Product. Ball Product was a short-lived Creation sublabel, run by Edward Ball. It released four albums during 1992–1993, by Link Wray, The Dentists, Further, and Brenda Kahn. Eruption Records. Eruption Records was a sublabel to Creation Records, Richard Norris was the label's A&R Consultant. It was active between 1996 and 1999. Acts include Wamdue Project, among others. You wait eight years for a My Bloody Valentine album, and then two come along at once. In Creation Stories, the new movie about Creation Records, the label’s founder Alan McGee, played by Ewen Bremner, is filmed having an apparent nervous breakdown in 1990. He is denied entry to the studio in London while ’s My Bloody Valentine, one of his acts, record their album, Loveless. I t is often written that the making of that album, which took three years and 25 studios, almost bankrupted Creation – before another of their bands, Oasis, became the biggest group in the world. Whatever the truth – and My Bloody Valentine has disputed this version, laying any “blame” at the then-cocaine-addicted McGee – Loveless is probably the most seminal alternative rock album of the 1990s after Nevermind by Nirvana and by Primal Scream. The band’s creative epicentre, the enigmatic , has been described as a modern-day Syd Barrett of Pink Floyd or Brian Wilson of the Beach Boys. The reclusive sonic auteur is probably the most influential and innovative Irish musician of all time. But his band hasn’t released anything in almost a decade. That is about to change. On May 21, they re-release deluxe editions of all their albums, and a series of EPs recorded as a compilation. Even more excitingly is that “sometime” later this year, they plan to release two long-awaited albums. And “long-awaited” means exactly that. There was industry chatter for years predicting an imminent follow-up to their self-released 2013 album m b v . But it never materialised. So given it took over two decades to release a sequel to Loveless, perhaps we shouldn’t hold our breath for the new albums? If they do appear, it will be worth the wait. Shields pushes the boundaries in just how hallucinatory an electric can sound. The 57-year-old talks about music in a way that mirrors the music he composes – talking, for example, about “the emotional feeling you get through the bending of a note.” Born on May 21, 1963, in Queens, to Irish parents, Kevin and his family moved to Ireland in the early 1970s. They lived in Cabinteely, Co Dublin. Around 1978, he formed a band called The Complex with drummer Colm Ó Cíosóig, who he had met in kung fu class at school. Liam Ó Maonlaí was in the band for a time before skipping off to become a Hothouse Flower. David Conway joined as vocalist and, in late 1983, on the advice of Virgin Prune , the band – now called My Bloody Valentine – moved to Holland. They all lived in a house that had a cannabis factory in the attic. “We were pretty broke, so were started smoking weed instead of tobacco,” Ó Cíosóig said years later. “I got used to carrying a big tobacco pouch full of weed around with me. We tried to get work. Kevin managed to get a job herding cows for a couple of months.” The following year, they relocated to Berlin where they recorded their first album, This is Your Bloody Valentine . When they moved to London in the mid-1980s, Debbie Googe, ex of the band Bikini Mutants, joined them on bass. In 1986, they released an EP, ‘The New Record By My Bloody Valentine’. Debbie Googe, Colm Ó Cíosóg, Kevin Shields, of My Bloody Valentine. Facebook Twitter Email. David Conway was replaced by guitarist and vocalist Bilinda Butcher and, in 1987, they went on to release a mini-album, Ecstasy , on Lazy Records before signing for Creation. Their first album was Isn’t Anything in 1988. That same year they also released two EPs, ‘’ and ‘’. When they were recording the latter, Shields composed a bass part so heavy that it knocked a speaker off the wall and broke the sound engineer’s foot. In the aftermath of 1991’s Loveless , Shields seemed to be on the same trajectory as that bass speaker. “I read a book by Terence McKenna about using psychedelics as a way to explore the mind. I started experimenting on myself. "I’d close my eyes and visualise a cow. Then I realised I couldn’t just see the cow but could pass around it. "That led on to an infinite amount of experiences. In a very short space of time, I was flying around the solar system.” With My Bloody Valentine effectively broken up (Ó Cíosóig and Googe left in 1995, followed out the door by Butcher in 1997), Shields played on, produced and mixed tracks on Primal Scream’s albums, XTRMNTR in 2000, and in 2002. “He brings something that nobody else in the world can bring. He plays guitar the way that nobody else in the world plays guitar,” the band’s frontman said. In 2003, he contributed five songs to the soundtrack of Sofia Coppola’s Oscar-winning movie Lost in Translation . Three years later, he contributed songs to her movie Marie Antoinette . When punk high priestess Patti Smith curated the Meltdown festival at London’s Queen Elizabeth Hall in 2005, she asked Jeremy Irons to read Proust. The actor was unavailable. She approached Shields. “I love My Bloody Valentine,” she said. “I was told it would be impossible to get him.” He agreed to do it. He was to accompany Smith on guitar while she performed her 1996 book-length poem, The Coral Sea , an elegy to her soulmate Robert Mapplethorpe, who had died of Aids seven years before. “At the performance, when I started to read my poem about Robert, he understood it,” Smith said. “He found a way to enter it. It was difficult to do, but beautiful.” In 2008, he collaborated again with Smith on an album The Coral Sea , roughly based on those live shows. In 2010, Shields played on Paul Weller’s single ‘7 + 3 is the Strikers Name’. “I still can’t really figure out what it is he does,” Weller said of him. “But I know something: only he can do it.” What adds to the cult of Kevin Shields is that he now lives with wife Anna and their two dogs on land in Wicklow that they share with "passive- aggressive deer”. Of the latter, he told the New York Times recently. “The more over-confident ones have this thing, where they like to stand within 10 feet of the dogs and make these kinds of high-pitched noises like, ‘What are you going to do about it?’” Happily, his lifestyle is in stark contrast to the one portrayed in Paolo Hewitt’s book about Creation Records, This Ecstasy Romance Cannot Last . In the book, his old boss Alan McGee recounts a Shields anecdote: “He built a 16-foot fence round his house so nobody could get in. He saw one of his neighbours sleepwalking early one morning in his garden. So, he built a huge fence. Colditz. He sandbagged himself in. And at that point the band left him. “And he was pretty happy because he was saying to himself, ‘Nobody can get in’. And I said to him, ‘Kevin, who would want to come in?’ And he went, ‘You’re right.’ "I think to this day he still thinks he was abducted by aliens. He never went to sleep for about a year.” Some of us won’t sleep until the new My Bloody Valentine albums finally materialise. Alan McGee & the Story of Creation Records: This Ecstasy Romance Cannot Last by Paolo Hewitt. Adams, R. and M. Barkan. 1969. "The Tra La La Sdong (One Banana, Two Banana)" Agee, J. and W. Evans. 1941. Let Us Now Praise Famous Men (Boston) Ali, L. 2001 'Instrumental Music for the Drinking and thinking Crowd.' Newsweek , February 26, 71 Attali, J. 1985. Noise: The Political Economy of Music , trans. Brian Massumi., Theory and History of Literature 16., ed. Wlad Godzich and Jochen Schulte- Sasse (Minneapolis) 'The Bands Not in the Trouser Press Guide Guide.' 1998. Badaboom GramoPhone , 3, pp. 68�198 BBC. 2001. History of the BBC home pages, 30 April Bangs, L. 1988. Psychotic Reactions and Carburetor Dung , ed. Greil Marcus (New York) Becker, S, ed. 1998. We Rock So You Don't Have To . The Option Reader #1. (San Diego) Blair, H. 2001. Personal E-mail, 15 May Boredoms. 2002. Slim's, San Francisco 15 March Brocato, J. 2001. Personal E-mail, 21 March Bull, M. and L. Back, eds. 2004 The Auditory Culture Reader (Sensory Formations) (London) Cage, J. 1973. Silence: Lectures and Writings (Wesleyan) Cavanagh, D. 2000. The Creation Records Story: My magpie eyes are hungry for the prize. (London) Chambers, I. 1988. 'Contamination, Coincidence, and Collusion: Pop Music, Urban Culture, and the Avant-Garde', in Marxism and the Interpretations of Culture , ed. Cary Nelson and Lawrence Grossberg. (Urbana), pp. 607�11 Chanan, M. 1995 Repeated Takes: A Short History of Recording and Its Effects on Music (London) Corbett, J. 1994. Extended Play: Sounding Off from John Cage to Dr. Funkenstein (Durham, NC) Cox, C and Warner, D., eds. 2004 Audio Culture: readings in Modern Music (New York) Cunningham, David/ 2004. 'Goodbye 20th: Noise, Modernism, Aesthetics.' Paper given at Noisetheorynoise #, 6 March, Mddlesex University Cutler, C. 1993. File Under Popular: Theoretical and Critical Writings on Music . 2nd ed. (Brooklyn, NY) DeRogatis, J. The Great Albums. 2003. http://www.jimdero.com/greatalbums.htm. May 3 Devoto, H. 1978. "The Light Pours Out of Me" Diggle, S. 1977. "Harmony in My Head" Dougan, J. 2003 "Gang of Four." All Music Guide . http://www.allmusic.com/cg/amg.dll?p=amg&uid=11:46:42|AM&sql=Bq69as34ba3ng. Black Sabbath. Paranoid . Warner, 1970 Boredoms. Chocolate Synthesizer . Reprise, 1994 -----. Onanie Bomb Meets The Sex Pistols . Warner Music Japan, 1994 -----. Pop Tatari . Reprise, 1992 -----. Vision Creation Newsun . Warner Bros. Japan, 2000. -----. Seadrum/House of Sun . Warner Music Japan, 2005. Buzzcocks. 'Noise Annoys', Singles Going Steady . IRS, 1979 C86 . NME , 1986 Cage, John. Cartridge Music on John Cage/Christian Wolff . Time, 1962 -----. Williams Mix on 25 Year Retrospective Concert of the Music of John Cage [Live] . Wergo, 1994 Deep Purple. Machine Head . Warner, 1972 Ex, The. 1936, The Spanish Revolution . AK, 1997 -----. Dizzy Spells . Touch and Go, 2001 -----. Starters and Alternators . Touch and Go, 1998 -----. Turn . Touch and Go, 2004 Flying Luttenbachers. Destroy All Music . Skin Graft, 1998 --- --. Gods of Chaos . UgExplode/Skin Graft, 1997 -----. Retrospektiw III . ugExplode/Quinnah, 1998 -----. Revenge of the Flying Luttenbachers . Skin Graft/ugExplode, 1996 -----. Systems Emerge from Complete Disorder . ugExplode/Troubleman, 2003. -----. The Void . UgExplode/Troubleman, 2004. Godspeed You Black Emperor!. xxx f#a#8 xxx . Kranky, 1998 -----. Lift Your Skinny Fists Like Antennas to Heaven . Kranky, 2000 -----. Slow Riot for New Zer� Kanada e.p. Kranky, 1999 Guided by Voices. Propeller . Rockathon, 1992 Henry's Dress. Eponymous e.p. Slumberland, 1994 -----. Bust 'em green . Slumberland, 1995 MC5. Kick out the Jams . Elektra, 1969 Minor Threat. Complete Discography . Dischord, 1989 My Bloody Valentine. Isn't Anything . Sire, 1988 -----. Loveless . Sire, 1991 -----. Tremolo . Sire, 1991 -----. Vancouver 1992 . Flashback Worldwide, 1992 Primal Scream. XTRMNTR . Creation, 2000 Sex Pistols, The. Never Mind the Bollocks, Here's The Sex Pistols . Virgin, 1977 T Rex. T Rex . Castle, 1970 Var�se, Edgard. D�serts. Music of Edgar Var�se Vol. 2 . Columbia Masterworks, 1962 -----. Po�me �lectronique. Music of Edgar Var�se Vol. 1 . Columbia Masterworks, 1962 Wire, Pink Flag . EMI, 1977 Young, Neil & Crazy Horse. Arc . Reprise, 1991. 10 According to Alan McGee, 'In the meantime he's taken �500,000, I think, off Island, approximately a quarter of a million off EMI Publishing and approximately a quarter of a million off Warner Brothers in America. And none of them have ever heard one piece of music' (Hewittt 118). Unfortunately, Shields has stayed true to form. He has been the studio for almost six years with little to show for MBV other than a version of "Map Ref 41?N 93?W" for the Wire Tribute album Whore . Bandmate Debbie Goodge has joined the indie supergroup Snowpony. Colm O'Coisig drums for the Warm Inventions on Hope Sandoval's on releases in 2000 and 2001. As of February 4, 1999, Shields told New Musical Express a new album was 'unlikely.' However, Shields has been busy working with other artists as guitarist for hire and remixer, most notably Primal Scream, for whom he produced the 'MBV Arkestra' remix of "If The Move Kill 'Em" (itself a nice intertextual nod to the late legendary Sun Ra mediated I suspect through Afrika Bambaataa). Since then Shield has toured and worked further with Primal Scream, worked with J. Masci & the Fog and guested on a Manic Street Preachers disc. 11 One should be wary of such triumphalist ex post facto speculations, however psychologically appropriate they might appear. On the night of February 2, 1992, Kevin Shields gave no indication whatsoever that MBV was on its last legs. In fact, he exhorted American fans to 'Come and see us again if you don't think we're any good live cuz. until we really have control over our whole sound. our whole production I can't really vouch for it. We've finally got that in England.' We're still waiting for the promised box set of MBV. 12 For more on the phenomenon or art school students and rock, see Frith, Art into Pop . A special notice given my topic needs to go to the constellation of art school based bands in the Leeds of the mid 1970s including The Mekons, Gang of Four, Delta 5 and Mancunian interlopers The Fall, who played early gigs at Leeds Polytechnic and the Fan Club before making a 17 March 1981 debut at Riley Smith Hall, Leeds University (http://www.visi.com/fall/gigography/gig81.html). Blame it on T.J. Clark and the Situationists, if you must. 13 Apparently Albini really despises Weasel Walter and the Luttenbachers. On his infamous Crap or Not Crap game at the Electrical Audio forum, he has posted the following: I don't know why, because I should like it very much based on any description of it, but I have always hated the Flying Luttenbachers, on every exposure. I have actually hated almost everything I've ever been exposed to that Weasel Walter has done. There was this magazine, Lumpen , which embodied a kind of snotty "look at me!" prankless-pranksterism that I detested immediately. Almost every Weasel Walter enterprise has smacked of this Lumpen -ish self-obsession, this irritant-for-the-sake-of-irritation. I guess you'd have to know what I'm talking about to know what I'm talking about. Anyway, crap. ------steve albini Electrical Audio sa at electrical dot com (http://en.wikipedia.org/wiki/Noise_music) and follow the various links to things like 'Dark Ambient,' 'Japanoise,' 'Noise Rock,' 'Power Noise,' and 'Onkyo.' Within Japanoise, there is a wide variety of styles and two city-based camps: Osaka around eYe, the Boredoms, and Alchemy records and Tokyo around Merzbow, Otomo Yoshihide, Sachiko M, and the Off Site club. 18 For brevity's sake I will just call him eYe throughout this essay. 19 With a productive band like Boredoms, I have neither the time nor the money to pursue their catalogue in any kind of complete fashion. I propose covering those discs most familiar to a generally well educated audience. The web provides innumerable sources to hunt down every scrap of their recorded output and that of the multitudinous side projects. As David Gedge would say 'Go Out And Get 'Em Boy!' Of course, the DIY aesthetic and artist-run and - owned labels not only link several of the bands considered herein but also tie them back to the earlier immediate postpunk era as recently chronicled by Simon Reynolds (2006, pp. 27�8, 249, 318�9, and passim). 20 As I was finishing up the final edits of this essay, I came across Torben Sengild's "The Aesthetics of Noise" and was heartened to find a fellow traveler whose approach was quite similar to my own down to the fact that we both titled our final section the same thing. Well O.K., he appends a final paragraph cum Miles Davis coda: 'So what?' I was also intrigued by the fact that he believes that by '1991 the development of guitar noise seemed to come to an end, culminating with My Bloody Valentine's Loveless as a worthy climax' (p. 13), whereas my story begins at the same moment and tweaks it to look forward and certainly there's no denying that the Flying Luttenbachers at least in the Revenge -phase are a guitar noise band primarily. While I'm at it, I should also say a word or two about Mark Sinker. What exactly to make of his extension of Lester Bang's essay on 'horrible noise' as well as of his own earlier Wire #211 piece in this 'Director's Cut"? I really don't know. But I did want to acknowledge its existence and that it provided grist for the mill in an earlier overhauling of my own efforts on the subject. 21 For a prehistory of the art of noises, see Kahn, pp. 56�9. 22 The definitive discussion of the entire building and its concomitant sub-projects is Treib who settles any and all mistakes and/or disagreements of fact between the narrative accounts of the "Po�me �lectronique" in Prendergast and Toop. My details concerning the piece and project are all taken from Treib, pp. 98�213. 23 Historically, my conceptualization of '90's noise draws on earlier musical movements. In the U.S. from the late 1970's, I would call to attention the variety of improvisational styles denoted variously as either "horrible noise" (Bangs p. 301, discography pp. 302�4) or "skronk" (as christened by Robert Christgau). In the U.K., Chris Cutler finds the creation of a popular "noise" even earlier in the British psychedelia of 1967 as opposed to the "relaxed Californian hedonism" (p. 118). In fact, he traces the whole movement back to Cliff Richard's backing band! "The Shadows, The Yardbirds, The Who, The Pink Floyd; an unbroken line of uniquely British development" (p. 117). Cutler's narrative has a melancholy end in 1968 as "this flowering of experimental music came and went with frightening speed" (p. 120). 24 My point here is quite similar to one made in Jason Gross's 2003 EMP Pop Conference talk, 'Between a Rock and an Experimental Place' later presented in the April 2004 issue of Perfect Sound Forever (http://www.furious.com/perfect/rockexp/rockexperimental.html). To wit As I myself look over numerous examples of recent appropriations and convergences of rock and avant music, I come to one inescapable conclusion�with the exception of avant ideas/themes applied to rock music (and not vice versa), the idea of the convergence itself seems much more aesthetically pleasing than the actual execution of it. 26 I thought long and hard about whether to include Fugazi as a case study in this essay, but decided that they were both well known enough and diverged from their noisier 1980's version as the decade rolled along that I could afford merely to name check them occasionally. Finally, they would probably merit an entire article of their own due to their stature and prolific nature. Ditto for Sonic Youth. For the latter, see esp. Cunningham and Pisaro. 27 In a Powell's.com author interview with Dave Weich, Greil Marcus has a telling anecdote about Neil Young from John Irving that explains his continued vitality: 29 My formulation arrived at independently is similar to David Cunningham's notion that 'noise cannot -- in this, its fullest critical sense � be contained by any idea of "style" or "genre"' (p. 5) 30 For a much more theorized notion of noise as a positive force, see Hellie, esp. 506. I also must mention the fine work presented at the recent London-based NOISETHEORYNOISE conferences, which I was unfortunately unable to attend. 31 Again it would appear Sangild and I agree. He speaks of noise as a kind of chaos following Michel Serres but is quick to point out that "Serres does not use the word chaos, lest being associated with chaos theory" (2006, p. 30). It is, however, far less clear where Sangild himself stands on such a connection. For more about chaos theory and culture, see Hayles (1990), Hayles (1991), and (Perloff and Junkerman, pp. 226�41). 32 There is a burgeoning amount of wonderful recent scholarship on the history of recording and producing technologies, but alas this essay is over, so I suggest you start with the following: Bull & Back, Chanan, Cox & Warner, Eisenberg, Kahn (1994), Katz, Sterne, Thompson, Van Assche, and Young. Apologies to any worthy author I have slighted in this admittedly incomplete list. 33 Proving there's almost nothing new under the sun, Herbert Lindenberger, in discussing John Cage's Europeras , describes the new aesthetic they propose: "Once we view the work as something to be tinkered with--whether by its maker or its consumers--it loses whatever autonomy it had within the terms of the older aesthetic, and, in effect, comes to "spill over," as it were into the everyday world' (Perloff and Junkerman, p. 157). Older Articles. Dream Demons Melody Maker, 10 Dec. 1998 My Bloody Valentine The Catalogue #67 The Excellence of Ecstacy Melody Maker 30 Jan 1988 My Bloody Valentine Les Intockuptibles Glide on Time Melody Maker 28 Jan 1990 The Artery of Noise! NME 21 April 1990 World War Skreeeee! NME 9 November 1991 Risque Business SMH, 15 Nov. 91 My Bloody Valentine Ablaze! The Class of '91 Melody Maker, Nov. 91 The Savage Beauty of My Bloody Valentine Hype, May 1992 The Sweetest Abrasion Melody Maker 4 Jan. 1992 3AM Eternal Select, Feb. 1992 1992 Bloody Guy Guitar World Mar 1992 Valentine's Day Guitar The Beauty In The Beast Option 1992 My Bloody Vaentine Hype, April 1993 Speak Sofly.. Guitar World, April 1993 When You Wake You're Still. Alternative Press, October 1995 Lush Life Mondo 2000 My Bloody Valentine Spiral Scratch Kevin Shields AOL Kevin Shields KUCI Kevin Shields on Irish TV Biography creationrecords.org.uk Deb Googe Interview creation-records.com. Reviews. Live Reviews. Related Press. Reccomended Reading. "Manic Pop Thrill" by Rachel Feldman An entire chapter is devoted to what she calls "miasma" bands ( note : miasma in the dictionary is defined as a sort of noxious decomposed exhalation - I'm not sure she meant that ), with My Bloody Valentine as the ringleader. A critical analysis of Isn't Anything is included, and very well done. "Blissed Out" by Simon Reynolds A book by Simon Reynolds about Shoegazing music, circa 1991. An entire chapter is devoted to My Bloody Valentine. Recommended more highly than Rachel's book. The Creation Records Story: My Magpie Eyes Are Hungry for the Prize�� David Cavanagh Paperback 795 pages (4 October, 2001) Virgin Books; ISBN: 0753506459. Alan McGee and the Story of Creation Records: The Ecstasy Romance Cannot Last � Alan McGee (Foreword), Paolo Hewitt Paperback 208 pages (21 September, 2000) Publisher: Mainstream Publishing; ISBN: 1840183500. More articles coming soon : ). If you have any articles, please send them to me via snail mail (email me for address) or scan them and email them to me. If you have an of the orignal articles posted here, I'm looking for the picture that went with them. The Greatest Footballer You Never Saw: The Robin Friday Story. Robin Friday was an exceptional footballer who should have played for England. He never did. Robin Friday was a brilliant player who could have played in the top flight. He never did. Why? Because Robin Friday was a man who would not bow down to anyone, who refused to take life seriously and who lived every moment as if it were his last. For anyone lucky enough to have seen him play, Robin Friday was up there with the greats. Take it from one who knows: 'There is no doubt in my mind that if someone had taken a chance on him he would have set the top division alight,' says the legendary Stan Bowles. 'He could have gone right to the top, but he just went off the rails a bit.' Loved and admired by everyone who saw him, Friday also had a dark side: troubled, strong-minded, reckless, he would end up destroying himself. Tragically, after years of alcohol and drug abuse, he died at the age of 38 without ever having fulfilled his potential. The Greatest Footballer You Never Saw provides the first full appreciation of a man too long forgotten by the world of football, and, along with a forthcoming film based on Friday's life, with a screenplay by co-author Paolo Hewitt, this book will surely give him the cult status he deserves. Об авторе. Paul 'Guigsy' McGuigan is the former bassist in Oasis. While on tour with the band in America, Guigsy came across a magazine article about Robin Friday and was inspired to find out more about the genius maverick player. This book is the result of his investigations. Paolo Hewitt is the author of several bestselling books, including The Looked After Kid , Heaven's Promise , The Fashion of Football , and biographies on Oasis, Paul Weller and The Jam. He is also features editor at Watch magazine.