|27 December 2017||Karl Schmidt Verlag / Adult Contemporary Recordings||KSV 424 / ACR X001|
|Disc One (74:56)
… need “Thee” (OA) (12 July 84)
7th Street Rehearsal (17 Dec 85)
Above, Damien Zisk (URA, 1987)
AC/DC “That’s the Way” edit (04-90)
Black Man Dick Look Like White Terd (URA, 1986)
“E” Making of Salisbury (URA, 1985)
The Best MUX! (OA, 1986)
Disc Two (70:24)
Disc Three (74:04)
Disc Four (76:08)
Disc Five (71:43)
Disc Six (75:27)
Disc Seven (72:30)
Disc Eight (72:49)
Disc Nine (76:18)
|Nine CD Peach of Immortality compilation featuring Jon Spencer “Live, 9:30 Club, Washington, DC (8 December 1985)” and “Six Times Since (URA, 1985) long sequence”.
The digital version costs €39, and the physical edition will be €59 plus postage
Due to be available online here https://tomsmithksv.bandcamp.com/music
“Laughing here while listening to the 9:30 performance from December 8, 1985. Those elfin twerps from Jesus and Mary Chain were so livid that they locked us out of the dressing room – as if we could have given half a shit. Really, the best intro to any show, ever – Jared slicing up his guitar case and bearing down on the strings with an electric razor, Rogelio doubling and tripling with his wah-wah cello, me manipulating Led Zep‘s “Since I’ve Been Loving You,” and Jon Spencer soloing during the breaks at several levels of fetid mania above the Reid brothers‘ capabilities. (And, unfortunately, for a minute or so, an idiot at the mixing desk bellowing into the house mic to make light of it all.) I‘m amazed we pulled it off without police interference. When we did our Mary Chain manip, holy fuck. The spittle hit the sporran!” – Tom Smith (28 December 2017)
Photo Credit: “POI: 1985, recording the Six Times Since album with Jon Spencer, my then-bandmate in Pussy Galore.” – Tom Smith
|Peach of Immortality:
Tom Smith (1984-1991)
Surrealismus: Paris Prag Rockville:
Compiled and produced by Tom Smith, December 2017
A co-release from Karl Schmidt Verlag and Adult Contemporary Recordings
c+p 1984-1990 / 2017 Adult Contemporary Recordings & Karl Schmidt Verlag
1.01. Untitled (Live, d.c. space, Washington, DC, 12 July 84)
2.01. Untitled (Live, d.c. space, Washington, DC, 9 Apr 87)
3.01. Untitled (Live, Nexus CAC, Atlanta, GA, 31 Mar 89)
4.01. 15 Dec 84 (Live, d.c. space, Washington, DC) 12:32
5.01. Untitled (Ginsberg Basement Session, 6 April 87 ii. & iii.)
6.01. Soundcheck (Final Hardart Gallery Session, Washington, DC, 2 June 85)
7.01. Untitled (Live, T.T. the Bear’s, Cambridge, MA, 30 Oct 86)
8.01. Untitled (Live, WREK-FM, Atlanta, GA, 8 Jan 86) (feat. Mike Green on computer)
9.01. Untitled (Live, George Mason University TV Studio, Washington, DC, 22 June 85)
|the majority of these recordings were made under less than optimal conditions with equipment that likely seemed dated in the mid-80s. We had no money, no label, no advances, not much of anything. We had amps, basements, public transport, and drugs. That was enough. We willed this music into existence despite material deprivation.
Within the restricted parameters set forth above, recording conditions varied. Certain basements, like Westminster, were soundproofed. The Ginsberg and 7th Street basements were not. Reverberance thus differs.
Many of the live club recordings were made with stereo cassette recorders placed on the stage by a member of the band (usually Tom).
Some board technicians of the time, whether lacking sufficient decorum or besotted by punk orthodoxy, saw nothing wrong in adding delay, reverb or vocal interjections to our performances. We had to ask them from the stage not to do so. Often, owing to the lack of monitoring in many spaces, we had no idea what was being added to the mix. Engineers unmindfully assumed we’d prefer their diminution of our intent.
Due to engineer meddling and general incompetence, several memorably convulsive performances will never likely be issued. Technicians at the Pyramid in Richmond and the Metroplex in Atlanta were notably unprofessional in this regard.
Where technical staff were merely disinterested, recordings of annoying inconsistency emerged. Owing to our archival propensity, however, parallel recordings of varying quality and backups of original loops, samples and edits remained in the POI library. Restorations of the T.T. the Bear’s gig and the Nexus CAC performance were constructed using a variety of period elements mapped to contoured outlines of the initial board recordings.
Some of the sessions – those from Goatshead, and later recordings created at Ginsberg – were made using a four-track cassette portastudio.
The radio broadcasts were engineered primarily on four-channel boards. (Radio engineers were the most reliably professional technicians we encountered.) Bulkhead was an eight-track studio, while Noise New York was a sixteen-track facility. Ampex 456.
All of the recordings from Klang and Walking Fish were recorded directly to digital eight-track.
That noted, high-bias chrome cassette was our default medium.
Mastering on “Surrealismus” was carried out with a very light hand. An unobtrusive graphic equalizer spread was used on most of the tracks; Audition’s “Amplify” tool was engaged to cut or raise db levels (usually by +/- 1db) where necessary.
We were usually high. We took truckloads of acid. It stands to reason that some of the wayward engineering found herein was created under the influence. Where EXTREMELY HOT WAVEFORMS were found, I first reduced their amplitude (between -10 and -15 db), then proceeded with a standard post-production regimen until something approaching semi-(ab)normal emerged.
Your hands have been held long enough. It’s fucking intense music. Dig in.
Keep in mind that “Surrealismus: Paris Prag Rockville” is not intended as the last word on Peach of Immortality, nor is it a compilation of all extant archival material. There are crates of original masters still in our storage facility in the States that have yet to be digitized or otherwise transferred.
This album is meant primarily as a means to restart a conversation. Peach of Immortality were important. More people need to know about them.