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Details about  CHARLES DOUGLAS The Lives of..300 ONLY LP NEW lou reed velvet underground indie

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CHARLES DOUGLAS The Lives of..300 ONLY LP NEW lou reed velvet underground indie
CHARLES-DOUGLAS-The-Lives-of-300-ONLY-LP-NEW-lou-reed-velvet-underground-indie
Item Ended
Item condition:
--not specified
Ended:
21 Jun, 2014 14:11:57 BST
Price:
£7.99
Postage:
Free Economy Delivery | See details
Item location:
Manchester, Greater Manchester, United Kingdom

Description

eBay item number:
131218519756
Seller assumes all responsibility for this listing.

Item specifics

Genre:

Rock

Speed:

33RPM

Sub-Genre:

Alternative

Record Size:

LP (12-Inch)

Brand new/still sealed LP on Broken Horse. Produced by Moe Tucker.  Ltd pressing of 300 only with insert with great sleeve notes.  Your copy will be sealed (I opened this copy to show the insert etc). 

REVIEWS

"THE BEST NEW YORK RECORD YOU'VE NEVER HEARD..A CULT CLASSIC" MOJO **** 

"Every bit the note-perfect Lou Reed/Ramones/Jonathan Richman tribute (presumably) intended. Drawled, fatigued vocals,rock n roll high school lyrics, - it's a fun flashback" UNCUT ***

"Almost every post Velvets New York band to spring out of New York come to mind:- The Feelies, Talking Heads, Ramones, Galaxie 500 and even The Strokes. Whilst listening you can read the brilliant sleeve notes which feature some brilliant anecdotes about the characters involved." Norman Records 4/5

"Most of the tracks were recorded live and it’s got a raw energy and drive that I haven’t heard in a long time, and Pixies style bass lines that are quite infectious. Ending with a tribute to none other than Biggie, he’s quite clearly mad, but I wish I’d had this album when I was 16 and listening to too much Ramones." 4/5 Is This Music

"And it’s the personality of the album that makes it so timeless – even though it was originally released thirteen years ago, it doesn’t sound dated in the slightest. If that’s not a testament to Charles Douglas’ talent, I don’t know what is." The Line of Best Fit

"But despite the lost decade, it never feels like a time capsule – turns out one of the most refreshing alt-rock records of 2010 was made in the nineties." The Skinny 

"If there’s a more perfect essence of no-wave geek-rock cool than “The Lives Of Charles Douglas” by the Californian outpatient of the same name then I’ve yet to hear it. It’s like a mythical secret treasure in audio form that has been lost for over a decade & now is finally ready to reveal itself to anyone that should still be looking for it." Folk Radio

"A-f*cking-mazing: a record issued briefly in 1999 that is a classic New York album to stand with the Velvet Underground, Television, Ramones and Strokes." Sounds XP 


BIO:

Charles Douglas’ The Lives of Charles Douglas was released briefly in the US at the end of the 1990’s and is possibly the last great New York rock record of the twentieth century, following a musical trail kick-started by the Velvet Underground and continued by the likes of Television, The Ramones, Galaxie 500, Luna and The Strokes. You probably haven’t heard it—or indeed of it. Nor had Broken Horse until our interest was aroused by an interview with notorious Elektra A&R man and No. 6 records label boss Terry Tolkin, who named it as his favourite album of all those he had worked on. Given that Tolkin signed Luna, The Afghan Whigs, and Stereolab—and worked with The Flaming Lips, Butthole Surfers, Sonic Youth and Spiritualized—we thought this was a claim worth checking out. Produced by Maureen “Moe” Tucker from The Velvet Underground, after Douglas struck up a fan/hero relationship with her, the album is a gutbucket kick of Lou Reed-inflected rock music about the glories (and dangers) of girls, drugs, and fast food. Moe also plays drums on the album—because Charles and his band showed up at the studio without a drummer. Charles Douglas takes up the story from here: “The studio where we recorded the album was owned by Kurt Ralske from Ultra Vivid Scene, and it was in a crumbling high rise overlooking Penn Station in NYC. Kurt was obsessed with Francoise Hardy and he’d hung giant pictures of her everywhere along with lots of tinfoil, like a speed addict. There was a giant hole in the brick wall of the bathroom, leading to an old airshaft—and the building had a rat problem. We put a sheet of metal over the hole, and at night I’d hear rats banging against the metal, trying to get inside. It was the summer of 1997, and we all had drug problems—pretty much every single person involved with making the record, except Moe Tucker. One day in the studio, someone pulled a gun over an argument about an unpaid coke dealer. I was terrified, but this was just business as usual. Every night after recording we’d hit the bars on Elektra’s tab and get drunk and go and see bands play. We tried to keep most of this hidden from Moe, because she was about thirty years older than us, and I was afraid she’d quit if she knew how screwed-up we were. We recorded from eleven AM to ten PM most days, without breaking for meals. Usually someone would run out to get us bagels or French fries. The studio would fill with so much cigarette and pot smoke, there was a perpetual haze in the air that made all of us feel sick. Moe wasn’t bothered by it, though. She just hammered away at her drums like a machine. I was determined to cut most of the tracks live, which meant everything ended up sounding pretty raw. The songs that got recorded were ones I’d chosen from over three hundred home demos. I was convinced we were making a masterpiece. We finally got kicked out of the Gramercy Park Hotel where my band and I were staying, because I kept pulling the fire alarm. My guitarist, Manish Kalvakota, and I started sleeping on the floor of the studio. The building was filled with sketchy characters, and an apocalyptic feel hung over the whole place. No one had any money and the drugs were making everyone act weird and desperate. I’d stay up all night smoking pot and listening to Kurt’s collection of obscure Krautrock records. Manish eventually headed back to an ashram in the Pocono mountains to cool out, but I decided to stay at Kurt’s studio until the bitter end. The recording process had been pretty fast—twelve songs in ten days—but the mixing process turned into a hellish odyssey. Terry and his business partner Bobby got into some kind of disagreement about the record, and began fighting. Bobby said that Terry stole a bunch of money earmarked for the record. Then Elektra fired Terry, and he left town. So Bobby took the master tapes and hid them. Finally, we got everything back and Kurt started mixing with Moe. The budget just got more and more out of control. But Kurt was a perfectionist. It kind of worked out in the end, because he made the tracks sound crunchy instead of sloppy. Dean Wareham came in at one point to help, too. After the record was mixed, I quit using drugs, left NYC and moved to Chapel Hill, North Carolina. I was told that the record would never be released. I’d just turned 22 and had spent years of my life writing it, recording it and mixing it. I was extremely depressed, and listening to lots of Nick Drake, naturally. About two years later, the record somehow got released through Caroline Records, which I was very happy about. However, they hadn’t bothered to pay for cover art, so the cover was an old press photo. The credits were all mixed-up inside too, and didn’t even mention Terry Tolkin’s name. There was minimal promotion and distribution, and after the initial pressing sold out, Caroline never bothered to manufacture any more copies. Looking back on it now, it seems like a wonderful, terrifying fever dream: all the bars, clubs, drugs, girls, and Kurt’s rat-infested studio. The last show I played before leaving New York was a Valentine’s Day party for the label. Lou Reed and Laurie Anderson were there, supposedly. So was Evan Dando. The show was a mess because I was too loaded to play. I wandered out into the street and got a slice of pizza. I ended up sleeping on the floor of Penn Station for a few days before catching a train out of the city.”

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