| Reviews |
All Music Guide Review:
Review by Ned Raggett
The story of the various versions of Live at the Witch Trials' re-releases over the years is its own part of the Fall lore, most notably including a terrible CD release in 1997 taken from a scratched vinyl copy. A later 2002 version improved on this but this two-disc, 25th anniversary 2004 version on Castle/Sanctuary, part of a thorough reissue series covering the band's earliest days, clearly becomes the definitive digital version of the Fall's first album, not least because it is finally mastered directly from the original tapes. The full set is an embarrassment of riches that completely documents the band's official releases in its first two years -- besides the album itself, the group's first two singles, "Bingo-Master's Break-Out!" and "It's the New Thing!," and all appropriate B-sides turn up. Then there's the bootleg three-song single "Dresden Dolls," taken from an early rehearsal -- besides the brusque title track, later compiled on the Backdrop semi-boot, there are fine versions of "Psycho Mafia" and "Industrial Estate." The sound's rough but not awful, making it an interesting curio. The band's two somewhat more straightforward but still okay contributions to the Short Circuit compilation, "Last Orders" and "Stepping Out," appear as well -- and that's just the first disc! The second one, appropriately enough given the band's longtime association with John Peel's program, starts with the band's first two sessions for Peel, both recorded in 1978. Though both are also available on the Words of Expectation collection, they make more sense here, including rarer songs like "Mess of My" and "Put Away" as well as more familiar efforts like "Rebellious Jukebox" (Brix Smith's vocals often given a weird, psychedelic delay) and "Like to Blow" (in this case without "Crap Rap 2"). Smith's unearthly scream on "Mother-Sister!" is one of his best-of-all-time moments. Topping it all off (and similarly making more sense here than on its own) is the inclusion of the previously released Liverpool 78 , a 12-song bootleg that was purchased at a market stall by Smith or someone close to him. Though lower-fi and with a noticeably poorer sound towards the end, it's hardly unlistenable, with the bass standing out in but not overwhelming the mix, while a good song selection "Two Steps Back," a grand "Various Times" and a number of Smith-isms -- several of which are honestly good humored! -- in between songs make for extra entertainment. If that was all then this would still be a must-have, but it just gets better thanks to the presentation and liner notes. The CD booklet includes an extensive essay by Daryl Easlea that provides an excellent history of the time, detailing the group's origins and early travails and successes with plenty of anecdotes and observations, while a slew of contemporary press stories and features are reproduced (the small size inhibits legibility at points, though). Technical details about past reissues, reproductions of the original single sleeves for "Bingo-Master's Break-Out!" and "It's the New Thing!" -- front and back -- and various early pictures make this version of Live at the Witch Trials an example for reissuing at its best, rivaling even the noted efforts of labels like Rhino. The only thing missing might be the kitchen sink -- or maybe a note from Smith talking about the album, but then again doing something so seemingly obvious would take away from his contrarian appeal. So while the Fall soldiers on despite Smith's increasing health problems and the band's continual lineup instability, something like this is a fantastic reminder as to the band's unique appeal from the start.
Mark Prindle Review:
Live At The Witch Trials - Step Forward/IRS 1979.
9 out of 10
STUDIO ALBUM #1 - Sounds like British punk except, uhhh... that tinky keyboard kinda detracts from the "kick-ass" quotient. Plus, guitarist Martin Bramah sounds more like a plinky amateur Ventures fan than a Sex Pistol wanna-be. Still, that vocalist sounds awful punky, with his high-pitched British screeching and nasal "-ah" attached to the end of every line (example - "Two steps back!" becomes "Two steps back-ah!" He's done this in pretty much every Fall song to date.). Lots of great melodies here - the closest that any rock band has come to circus music since The Doors, but with a truly kickbuttock punk drummer to boot. Great punk numbers like "Like To Blow," "Underground Medecin" (their spelling), and a re-recording of "No Xmas For John Quays" share the record with longer, slower, more story-oriented songs like "Frightened" and "Music Scene" that foreshadow the stranger, looser epics that the band would be writing in a few years. A wonderfully fun debut, but if you like your singers to actually "sing," you should maybe look elsewhere.
Best lyric is at the beginning of "Mother-Sister" -
Unidentified voice: "Ehhh... what's this song about?"
Mark Smith: "Uhh...nothin'!"
|
|
