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STATS THAT MIGHT SURPRISE YOU…..

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pj-harvey-cmon-billy-80799

Let’s have a quick quiz question….

How many times has a PJ Harvey single appeared in the Top 20 of the UK charts??

Those of you who said ‘None’ are correct. Incredible to believe that such a critically acclaimed artist, and one whose tours of decent-sized venues sell our pretty quickly, has never gotten any higher than #25 in the singles charts despite almost 30 attempts at doing so. Indeed, the stats paint a pretty depressing picture as only nine of her singles have ever made it into the Top 40, only one of which has been this century.

Things are surely better on the album front, so let’s have another question.

How many times has a PJ Harvey album appeared in the Top 10 of the UK charts?

The answer is ‘Three’

Rid Of Me in 1993; Let England Shake in 2011; and The Hope Six Demolition Project which gave her a first ever #1 earlier this year.

Incidentally, the dreadful state of the music industry can be seen from the fact that this album went to #1 on the basis of less than 11,500 sales in the first week of its eagerly awaited release. I’m terrified to think how low the sales are for bands on the smaller, indie-labels.

The stats also show that PJ’s best-selling album is Stories From The City, Stories From The Sea, the Mercury Prize winner released back in 2000. In terms of the charts, it peaked at #23 but has been a consistent seller over the years and has recently just gone above 300,000 sales.

Part of the problem is that PJ Harvey has released songs that were just ahead of their time in that their unfamiliar style or sound would become popular a short while later but other bands would get all the glory. Such as this from 1995 which to my ears has something that dragged Radiohead to world-wide fame and fortune the following year:-

mp3 : PJ Harvey – C’mon Billy

The three extra tracks on the single are well worth a listen….all completely different in form and delivery and yet all so typically PJ Harvey.

mp3 : PJ Harvey – Darling Be There
mp3 : PJ Harvey – Maniac
mp3 : PJ Harvey – One Time Too Many

Enjoy.

BONUS POSTING : DRESS x 3

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pjmbe

It’s kind of pot luck which member of the royal family you’ll get to pin on the medal you’ve been awarded in the twice-yearly honours list. As you can spot from the above photo, the delightful PJ Harvey, having been listed in the June 2013 Awards for achievements in music, got hers from the woman once portrayed in a movie by Helen Mirren.

This is another song inspired by a random appearance on the ipod, but it was this rather wonderful acoustic version:-

mp3 : PJ Harvey – Dress (live, WHFS)

This was recorded in the early 90s for a radio station that is based in Rockville, Maryland (yup….the very same Rockville once namechecked at length in a song by R.E.M.)

The original is, of course, a bona fide classic:-

mp3 : PJ Harvey – Dress

So how about we round things off with the demo version so you can hear how much it subsequently developed…

mp3 : PJ Harvey – Dress (demo)

Enjoy

PS : The reason for this burst of activity on the bonus posting front will become clear quite soon….

AN IMAGINARY COMPILATION ALBUM : #063 : PJ HARVEY

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JC writes…….

This is a genuine moment of excitement for me.

In all the years since I first blogged I have aspired to match the quality of writing and/or deliver the breadth of ideas that are constantly on show at Plain Or Pan?, courtesy of the talents of its sole contibutor Phil Spector (although in recent times he has dropped the non-de-plume for the good old fashioned and very Scottish Craig McAllister)

I’m thrilled that he’s come on board with an ICA, and featuring an artist much loved by so many readers. Oh and he supplied today’s unforgetable image too…..

pj-h

Over to Craig……..

Following a recent post on Plain Or Pan, JC wrote me a lovely and flattering begging letter, asking if I’d contribute a piece on PJ Harvey for The Vinyl Villain. Now, just to qualify, I’m no expert on Polly Jean. I’m a huge fan and I have most of her back catalogue (the odd collaborative effort aside) and while there are other artists that I obsess far more over and go to first when choosing something to play on the rare occasion I have the house to myself, PJ is always somewhere in the background, shuffling up unannounced but always welcome on my iPod during the commute to work, or peeking out at me in-between my George Harrison and Richard Hawley albums. The bulk of her music still thrills and amazes and stands up to repeated listens long after the time of release, which is surely the mark of a true artist.

It’s incredible to think that PJ Harvey has been making records for nigh on a quarter of a century. From the lo-fi scuzz of Dry via the Patti Smith-isms of Stories From The City, Stories From The Sea and the stark, piano-only White Chalk right up to her most recent collection of WW1-themed songs on Let England Shake (not forgettting the one-off single in support of Guantanamo Bay prisoner Shaker Aamer), she’s one of our most consistent musicians. Daring, unpredictable and true to herself, she’s right up there with the best of ’em.

Excitingly, she has a new LP in the offing. April, I believe. The first fruits are spinning heavily on BBC 6Music every day just now, and they’re sounding terrific. As a primer, JC asked me to collate a compilation for the uninitiated, put together any way I saw fit.

I begin with the caveat that the tracks I’ve chosen today might not necessarily be the ones I’d chose tomorrow, but I’ve chosen one track from each of her 8 studio LPs (excluding the 4 Track Demos stop-gap LP or those collaborative efforts mentioned earlier). Some of the tracks were singles, some were hidden away in the darkest corners of the album from whence they came. All are classic PJH; garagey, bluesy and occasionally down right dirty. There’s the odd bit of cello and throw-away sweary word. But there’s always the voice, her primal moans sexy as hell one moment, skyscrapingly stratospheric the next.

Sheela Na Gig

Sheela Na Gig was PJ’s second single and also appeared on Dry, her debut LP. She sets her stall out early here, singing about ‘child bearing hips‘ and ‘ruby red lips’. Hearing this for the first time as a 21 year old, I had no idea what a Sheela Na Gig was (Google it), so I listened to this thinking “Oh! Aye!” I always had this faint idea from then on in that one day she’d go out with me, until she met that bastard Nick Cave. Oh well, her loss.

50ft Queenie

50 ft Queenie was the lead single from 2nd album Rid Of Me. Rid Of Me is such a quiet record, which has always irked me. For an artist who apparently revels in creating a whirlwind of chaotic noise, the album seemed so quiet and tame by comparison. I’m sure there must be some sort of audiophile reason for it, subsonic frequencies and the likes, but who knows? When you play it next to something like, oh, I dunno, Definitely Maybe (like comparing jam with cheese, I know), PJ’s album sounds limp and flimsy compared to the sonic boom of the monobrowed magpies.

Anyway. 50ft Queenie. The drum track sounds like the Eastenders theme falling down the stairs, a right royal ramalama of tumbling toms and clattering cymbals all underpinned with a bluesy riff and topped off with those sexy/skyscraping moans and screams. “You bend ovah, Casa-nova…” Indeed. Great one note guitar solo too.

I have a clear memory of seeing her perform this in the Barrowlands, wearing a pink feather boa, knee high boots of shiny, shiny leather, a Gretsch Country Gentleman and not much more. A spectacular sight and sound. If you’ve never heard this before, make sure you strap yourself in first.

Come On Billy

Come On Billy can be found on the Mercury-nominated To Bring You My Love LP. Featuring some frantically scrubbed acoustic guitar and see-sawing cello, it’s PJ’s Nick Cave (aye, him again) moment. There’s a terrific, understated string section playing below the whole way through, the first evidence that PJ had more to her arsenal than bent blues notes screaming through a tower of Marshall stacks. I’ve always liked how she hiccups her way through the adlibbed chorus at the end.

The Wind

The Wind (from the Is This Desire? LP) is a slow-burning cracker. For such a slight ‘n skinny woman, PJ’s tune packs more muscle than it has any right to. It‘s her Barry Adamson moment; filmic, bass-heavy and full of brooding menace.

It fades in on a ripple of marimba and a stutter of just-plugged-in guitar, with PJ’s vocal quickly taking centrestage. Whisper-in-your-ear sultriness one moment, understated falsetto the next, it tells the story of St Catherine of Abbotsbury who built a chapel high on a hill near to where PJ lives.

The whole track is carried along by the bassline. When it comes in, after that second ‘noises like the whales’ line, it brings to mind some New York street punk, hands deep in the pockets of his leather bomber jacket, docker’s hat pulled hard and low over his forehead, eyes shifting from left to right and back again, looking to start trouble, looking to avoid trouble, but, looking for trouble.

It’s produced masterfully by Flood who brings an electro wash to the finished result. In fact, it wouldn’t sound out of place on any given recording by Harvey’s fellow West Country contemporaries Tricky and Massive Attack. There’s subtle tingaling percussion, quietly scraping cello and layers of synthetic noise. When the vocals begin their counter-melodies in the chorus, it’s pure Bjork.

Kamikaze

Kamikaze is taken from Stories From the City, Stories From The Sea, PJ’s second Mercury-nominated LP. Her most straightforward pop/rock album, most of the tracks had the knack of sounding like Patti Smith on steroids.

Kamikaze is terrific, a down-the-hill-with-no-brakes-on, headlong rush of close-mic’d guitars, polyrhythmic drums and yet more skyscraping hysterics. It’s a close cousin of 50ft Queenie , only with far better production and mastering.

If you’re new to PJ and any of these tracks have so far piqued your curiosity, I’d start with this track’s parent album and take things from there.

Who The Fuck?

Now we’re talking! PJ’s angry. Someone’s pissed her off and she can’t wait to tell us. Coming across like a demented Jon Spencer Blues Explosion, WTF? kicks like an angry mule, a fuzztoned, vocally distorted, brilliant mess of a record.

It’s a sloppy, stroppy, brilliantly sweary track. If you took ten wasps in a jar and stuck them in a food blender with the short-lived RRRRRiot Grrrrrrl movement, it would sound something like this.

The Devil

The White Chalk LP is a difficult listen. Very difficult. I listened to it once then filed it away. For the purposes of this article I dug it out again and spent one dreary afternoon (it’s only about 35 mins long, but honestly, I’d rather stick pencils in my eye than have to listen to it again) waiting patiently until I ‘got it’. I still don’t.

I chose The Devil as it’s the lead track, and from experience, the lead track is usually a statement of intent from the artist. Well, PJ sets her stall out early with this one. The whole album is funereal in pace, delicate, flimsy and abso-fucking-lutely boring. PJ coos and woos and plays her piano with all the deftness of a concert pianist, but damn, there’s nothing there that grabs. No balls-out rockers, no dirty, sweary, innuendo-filled garage band fizzers. Nothing. For all its gossamer-thin lightness, it’s an extremely heavy listen. Maybe you think differently. For me, it’s the one clunker in a stellar back catalogue. And every artist is allowed the occasional clunker, aye?

The Glorious Land

Following the stark, piano-led White Chalk, Let England Shake was PJ’s triumphant return to the guitar. Much of the album is loosely concept, relating to the atrocities of WW1. If this seems a bit heavy, the music therein was often light and airy; gone for the most part were the blooze blunderbuss guitars, replaced with lightly chiming 6 strings, clean and pleasant on the ear. Radio 2 music, even.

The Glorious Land begins with such a guitar, playing atop a rallying military bugle. Without getting too ‘muso’ about it, the chord changes are sublime and the vocals are always to the fore. There’s almost a male/female duet in the verses, between PJ and (I think) a moonlighting Mick Harvey who come across like a 21st century Lee ‘n Nancy on helium, while PJ duets gloriously with herself in the chorus and outro. You might want to discover the rest of this album for yourself. It’s one of her best.

And there you have it, 8 tracks o’ PJ. A cross-album introduction I’d be happy to pass on to anyone with a PJ curiosity.

Craig McAllister

http://www.plainorpan.com

mp3 : PJ Harvey : Sheela Na Gig
mp3 : PJ Harvey : 50ft Queenie
mp3 : PJ Harvey : C’Mon Billy
mp3 : PJ Harvey : The Wind
mp3 : PJ Harvey : Kamikaze
mp3 : PJ Harvey : Who The Fuck?
mp3 : PJ Harvey : The Devil
mp3 : PJ Harvey : The Glorious Land

And here’s a couple of collaborations just so that you ICA purists get your 10 songs:-

mp3 : PJ Harvey and John Parish – Black Hearted Love
mp3 : Desert Sessions feat. Josh Homme & PJ Harvey – Crawl Home

Enjoy

WOW

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220px-Down_by_the_Water_single
Back in the early days, during the promotion of the first couple of albums, whenever PJ Harvey took to the stage for a gig or made a rare live TV appearance her appearance wasn’t that far removed from a 20-something indie-student going to the local union. Hair swept back and held in place by an Alice band and everyday clothes such as baggy black jumpers, leggings or jeans, all rounded off with a pair of trainers or Doc Martens.

She was determined to let the music do the talking and image was secondary.

But that all changed dramatically during the recording of the LP To Bring You My Love which was released in February 1995. I don’t think I was alone in being gobsmacked when I first caught sight of the promo for the lead-off single.

Long flowing black hair. Bright red lipstick around a mouth that pouted at the camera. A ruby-red designer dress that showed a vamp with a gorgeous figure. High heels. Slinky dancing. PJ submerged underwater. A vision of absolute loveliness.

It really should have been a massive hit and deserved much more than the paltry #38 it achieved in the UK.

mp3 : PJ Harvey – Down By The Water

Over in the States, it was a different story – the single was massive on the US Modern Rock chart partly because the video, unsurprisingly, was on heavy rotation on MTV. It was clear that PJ Harvey had decided to play along with the game, and the image was every bit now as important as the songs.

Here’s your b-sides:-

mp3 : PJ Harvey – Lying In The Sun
mp3 : PJ Harvey – Somebody’s Down, Somebody’s Name

Oh and interesting to note that the sleeve of this single would probably get banned nowadays thanks to the cigarette in Polly Jean’s right hand. Strange how much some things have changed in the past 20 years.

AND WHEN IT WAS WARM SHE DIDN’T WEAR MUCH MORE

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Raspberry_Beret

Hindu Love Gods was an American rock band that was, in essence, an occasional side project of  R.E.M.

The band debuted with three scattered gigs (all in Athens, Georgia) in 1984. They played mostly cover tunes, though a few unreleased originals also made it into the mix. The first gig took place on Valentine’s Day, 1984, and featured Bryan Cook (vocals and piano, a member of Athens bands Oh-OK and Time Toy), and R.E.M. members Bill Berry (drums) Peter Buck (guitar) and Mike Mills (bass). The follow-up gig took place two weeks later; added to the line-up was R.E.M. lead singer Michael Stipe on vocals and drums, and Warren Zevon on vocals.

Zevon’s career stretched back to the late 60s and for over 30 years until his death from cancer in 2003 at the age of 56, he was a huge influence on many big hitters and popular artists within the American music industry without himself ever enjoying much mainstream success. He was also an almost complete-unknown here in the UK.

The third and final gig of 1984 was in June and featured the Cook/Berry/Buck/Mills line-up.

Hindu Love Gods went into the studio as a quintet that summer, with the line-up of Berry/Buck/Cook/Mills/Zevon. They recorded two songs for release as a single, which were eventually issued two years later. The A-Side, Gonna Have A Good Time Tonight was a cover of an Easybeats tune; the B-side, Narrator was a Bill Berry composition that R.E.M. had played live, but never recorded.

After a period of inactivity, Hindu Love Gods played one 1986 gig in Athens as a benefit gig for the family of a musician who had died in a car accident. The line-up for this performance was Berry, Buck, Cook, Mills and Stipe.

Buck, Mills and Berry later joined Zevon as his back-up band while recording the latter’s solo album Sentimental Hygiene  in 1987. During an all-night (and supposedly drunken) session in the midst of recording said album, they also churned out ten cover songs. None of these were intended for release, but such was the demand for R.E.M. product just a few years later that an LP called Hindu Love Gods was released on Giant Records in 1990.

A single was also released. This is the 12″ version:-

mp3 : Hindu Love Gods – Raspberry Beret
mp3 : Hindu Love Gods – Wang Dang Doodle
mp3 : Hindu Love Gods – Mannish Boy

You’ll need to excuse the little hops and skips on the two b-sides as the plastic is second hand and not in great nick….but you’ll hopefully get an idea that it all sounds like some guys who have a love for the blues just enjoying themselves in a recording studio because they can.  But it doesn’t float my boat all that much.  Here’s another cover version of one of those songs which is a unique sort of take on the blues:-

mp3 : PJ Harvey – Wang Dang Doodle (Peel Session)

Enjoy