Singles (compilation): Difference between revisions

Revision as of 05:49, 19 July 2023

2004 compilation album

Track list


	Song	Date	Single
1.	Woof	1970
2.	Old Tom Clark	1970	Old Tom Clark
3.	Pig Ankle Strut	1970	Old Tom Clark
4.	Wives in Orbit	1978	Wives in Orbit
5.	Yik Yak	1978	Wives in Orbit
6.	Micro-Chips & Fish	1979	Micro-Chips & Fish
7.	The Story so Far	1979	Micro-Chips & Fish
8.	Born in Flames	1980	Born in Flames
9.	The Sword of God	1980	Born in Flames
10.	An Old Man's Dream	1981	An Old Man's Dream
11.	The Milkmaid	1981	An Old Man's Dream
12.	Rattenmensch: Gewichtswächter	1981	Rattenmensch/Gewichtswächter
13.	Zukunftsfleiger	1981	Rattenmensch/Gewichtswächter
14.	The Red Crayola on Forty-Five	1993	The Red Crayola on Forty-Five
15.	Your Body is Hot	1993	The Red Crayola on Forty-Five
16.	14	1994	14
17.	Stink Program	1994	14
18.	Chemistry	1996	Chemistry
19.	Farewell to Arms	1996	Chemistry
20.	Come on Down	1999	Come on Down
21.	Stil De Grain Brun (Radio Edit)	2002	Free Logo

Background

Cover art

The cover art is a 2003 painting by Glenn Brown titled "Modern Movement"^[1].

Retrospectives

Albert Oehlen, 2003^[2]

Important news in music: Auf DRAG CITY erscheint demnächst eine Kompilation aller Singles von Red Krayola. Mit insgesamt 29 Tracks ist endlich ein guter Überblick über deren Schaffen möglich!

Mayo Thompson, 2005^[3]

[...] It’s got twenty-one tracks on it. It started in ’68. There’s a lot of stuff in it and it’s kind of strange to hear it. I characterized it to somebody. I said Dead letters to lost worlds. And so I feel slightly sad when I listen to these tunes because I begin to see them in time in that way. And there’s a certain sense of loss or something like that, but then on the other hand. I think to myself, hmmmm, turn on that record, there’s still a radio. Who knows? It’s never too late. Something could come back and catch the public ear and it could work, so I hold out hope that out of that stuff, some of those singles will catch some ears somewhere and get into the conversation.
[...] I mean, I condone the compilation on the grounds that a lot of that stuff is just completely lost. There’s no way that I could make those available as a single or something like that, because there are commercial constraints and it’s pointless to make singles if you can’t distribute them.
[...] All of them had small distribution. I mean some of them didn’t even get pressed. Some of the things that are on that record were never intended to be singles and therefore I feel vindicated in putting them out. But some of those things never even saw the light of day. So this is the end of the rubric of singles compilations. I can put some songs out there that nobody’s ever had any access to. I hope in the long run that, I mean, I had fantasies, of course, that somebody’s gonna hear this song or that song and then maybe market it all around the world and then there’d be one of those songs off that record that would hit. That they would connect in some way.
SL: What kind of connection do you want to make?
MT: Listen. I’m playing for all the marbles. Should we get a hit? Gimme. Gimme. Gimme.
SL: So you’re not averse to the idea of a hit.
MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.

Reviews

Shredding Paper

Fall 2004^[4]

David

Might seem a bit contradictory for a comparatively outré outfit like RK to have actually released singles, but release them they did, and this collection features almost all the tracks from same, including those very rare and unreleased. The band’s sound went through many a change over the years, thanks in no little part to a fluid lineup (mainman Mayo Thompson has been the only consistent throughout its almost-four-decade history) though for the most part he’s stayed most comfortably at the outskirts of what usually gets termed “conventional” music. (One would think there'd be a sense of knowing irony over having “radio edits”). The early 80s material - stuff that was recorded concurrent with and fit comfortably alongside (if not overshadowing) the better post-punk works of the era (some of the musicians responsible for same appearing here as well) and the stuff that was recorded with Art & Language hold up the best. Overall worth investigating, especially if your RoughTrade waxings are getting worn.

References

[1] ttps://glenn-brown.co.uk/artworks/123/

[2] ttps://web.archive.org/web/20031128075022/http://www.wendy-gondeln.de/Einzelseiten_Wendy/news.html

[3] ttps://fnewsmagazine.com/2005/04/dead-letters-to-lost-worlds/

[4] ttps://archive.org/details/shredding_paper_18/page/n54/mode/1up

[1]

[2]

[3]

[4]

@@ Line 140: / Line 140: @@
 MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.</blockquote>
+== Reviews ==
+=== Shredding Paper ===
+Fall 2004<ref>https://archive.org/details/shredding_paper_18/page/n54/mode/1up</ref>
+David<blockquote>Might seem a bit contradictory for a comparatively outré outfit like RK to have actually released singles, but release them they did, and this collection features almost all the tracks from same, including those very rare and unreleased. The band’s sound went through many a change over the years, thanks in no little part to a fluid lineup (mainman Mayo Thompson has been the only consistent throughout its almost-four-decade history) though for the most part he’s stayed most comfortably at the outskirts of what usually gets termed “conventional” music. (One would think there'd be a sense of knowing irony over having “radio edits”). The early 80s material - stuff that was recorded concurrent with and fit comfortably alongside (if not overshadowing) the better post-punk works of the era (some of the musicians responsible for same appearing here as well) and the stuff that was recorded with Art & Language hold up the best. Overall worth investigating, especially if your RoughTrade waxings are getting worn. </blockquote>
 == References ==