hi; i've been listening to a lot more music from the original baroque (and earlier) than mid-sixties' (and later) baroque pop, recently; do people "here" think pointers to excellent baroque from more than four decades ago would fit?
nirvana - the real nirvana -'s "tiny goddess" was more than just a turntable hit - a single that was chosen as a favourite by a dj or three and it gained popularity with at least a part of their audience, but didn't quite make it to the top of the charts; in "tiny goddess"es case, it was chosen as one of the last discs of the week on radio london by john peel (if i remember correctly, johnnie walker also played it most enthusiastically), and i think made it into their top thirty: but it was not picked up by auntie beeb's new radio one, and without continuing airplay slipped slowly away into undeserved obscurity.
if they are remembered today, it's primarily for their charting second and third singles, "pentecost hotel" and "rainbow chaser" (which was probably the most effective over-enthusiastic use of the new technique of phasing ever *g* - but not really typical of the group). the more beautiful "all of us" was - like "tiny goddess" - perhaps too understated, too restrained, and too musical, to appeal to radio one's controllers, who'd signalled precisely the style of empty-headed commercial pop music they were building their station around, with the single they chose to launch with.
nirvana's two lps for island were not commercially successful, and chris blackwell dropped them (their third album eventually surfaced on pye [pye international, iirc, for some reason] with a less than entirely complimentary reference to him...); "the story of simon simopath" was not helped greatly by its amateurish (though striking) cover art, and that for their second was monochromatically subdued; and after a brief period of availability as deletions, they became quite pricey "collectors' items"; but they have been transferred to cd: imcd 301/980001-0 (both the stereo and the mono mixes, which differ significantly, plus single b-sides and a previously unreleased track) for "the story of simon simopath", and imcd302/980001-1 (plus a late single a-side and b-sides) for "all of us".
so; two albums well worth investigating if you don't already know them, and at an affordable price, now they're remastered to cd; not all the tracks are brilliant (nor are they all baroque pop; "requiem for john coltrane" was quite a surprise, when i played that single b-side forty-odd years ago *g*), but there was no-one else quite like them, and their best was superb.
"We built our castles in the air/ a dream that only we could share
But now, it's over and done/ but that was yesterday-and yesterday's gone;
How carelessly we let love burn /So much to give, so much to learn
But now, it's over and done/ 'cause that was yesterday-and yesterday's gone;
Seasons come and seasons go/ But still I hear you whisper low
My love, what have we done?/ I loved you yesterday, but yesterday's gone."
- Chad Stuart's original lyrics to "Yesterday's Gone", by Chad & Jeremy
From the liner notes of the 2000-released anthology The Very Best Of Chad & Jeremy. Producer John Barry wanted Stuart to lighten up his more poetic verse to sound more like a 'pop' tune. Compare these to the version we're all familiar with.
Anyone have an interest in discussing the darker side of baroque pop? favorites and the like. In general my baroque pop tastes run a little a lot dark, the way i like my psych...and everything really. I'm especially fond of Paul Roland's strange baroque pop, anything the Brothers Gibb did until '73ish, Love, Chad & Jeremy and less fond of the borderline kitschy stuff.
The original isn't really Baroque Pop, but it has been covered by two Baroque Pop bands, Spanky and Our Gang as well as the Fairport Convention. I provide all three version below. I just wanted some opinions as to which you think is a better version. TBH, I think all bands set out to make a good song so I hate admitting I prefer the SAOG version. I just can't deny my love of their heavenly harmonies.
In case you were also wondering what the story behind the lyrics are (Source - http://lib.ru/SONGS/cohen/faq.html): According to a Radio 4 documentary on Leonard Cohen in London last night [Saturday, November 26, 1994] Suzanne was written in Montreal about Suzanne (not sure of last name) who was the wife of a high-society friend. She was apparently a beautiful woman who he was very taken with. She and her husband made an invincible couple and he was limited to touching her body in his fantasy.The harbor is the water front of Montreal and the "lady of the harbour" is a statue on that waterfront. "Tea and oranges that come all the way from China" refers to the Constant Comment tea (small pieces of orange peel mixed into the tea) that she gave him at her place overlooking the harbour.
Cover by Spanky and Our Gang - Suzanne - 3.464 MB From their 1968 album Like to Get to Know You. Brilliantly produced by Stuart Scharf (three is the magic number fame) though he doesn't even mention them ever so I'm not sure if he ever even like them ... It's the seventh song.
Cover by Fairport Convention - Suzanne - 5.144 MB From the 1987 release of their 1968/1969 recordings entitled Heyday: BBC Radio Sessions, 1968/1969. Their producer Joe Boyd said that most of the songs on this album were vetoed from apearing on their 1969 album Halfbricking. Surprising seeing as that album only had 8 tracks. Surely they could have allowed one or two of the dozen or so tracks from Heyday on it?
... mildly amusing baroque-pop moment. Jens Lekman played here in Auckland the last two nights, and I managed to blag my way into doing a DJ set both nights. For anyone familiar with his work, there's a sample of The Left Banke's "I've Got Something On My Mind" in his song "Maple Leaves". Anyway, in my DJ set I cheekily played the Left Banke song - they're totally obscure here - and I heard a few people bemoaning the fact that I was playing a song by the artist in question, until their looks of derision suddenly turned to looks of complete confusion as soon as the vocals kicked in. Damn smarmy indie kids.