Last night Dean & Britta played their
third fourth livestreamed concert since lockdown and the first one at a sensible time for European fans. For this one they also roped in Roger Brogan to help with the sound and to play drums.
The duo have decided to used the Veeps platform for the concerts which consensus seems to suggest was a wise decision as the sound quality is pretty good although for the first ten minutes of last night’s performance you wouldn’t have known that as the show started without sound. After a couple of minutes of their opener the message that the only people who could hear the show were the three folk in D&B’s living room the event ground to a halt. With some knob twiddling and a call to tech support things were finally resolved and the concert restarted with My Rifle, My Pony and Me from Dean and Cheval Sombre’s album of cowboy songs from a couple of years back.
Once the sound was restored it became clear that this show was a step-up from previous ones, the addition of drums and Roger’s hand at the engineering wheel was certainly making a difference - next up was Galaxie 500’s Leave The Planet followed by Opal’s Hear The Wind Blow.
The set continued with a run of Galaxie 500 tracks with Dean & Britta’s You Turned My Head Around slotted in the middle (always a joy to hear and see Britta during that one). Dean also gave a couple of poetry readings and threw in some banter and told some stories.
Among the Galaxie 500 tracks was a beautiful rendition of Sorry - written by Damon and a heartbreaking insight into a band crumbling - “Seems it doesn’t make a difference, and were sorry all the time” - it was beautiful to hear and probably hasn’t been performed live by any former Galaxie 500 members since their last tour in 1991 - the late Tom Rapp covered it at a Terrastock show back in 1998.
The show finished with an encore of a cover of Donovan’s Sadness and then a perfect Ceremony.
Definitely the best of the three shows so far - and an absolute joy to see them live. The Veeps platform has a chat that was quite active during the show and was nice to have some level of interaction with other fans … lovely to see so many familiar faces in there.
You can still buy and watch the show on Veeps for a week or so - so head over and check it out.
The one thing that was really missed was band/audience and inter-audience feedback.
- the band tried to keep an eye on the chat but it clearly isn’t possible in any meaningful way - the delays and the silence of it mean that they aren’t really reacting at all - this was most blatantly clear during the silent rendtion of the opening track - the fact that it took two minutes before Dean & Britta realised that nobody could hear was telling.
- audience interaction with each other, while better, was also hard. Chat went past too quickly at times - the Veeps platform didn’t allow @ comments or private comments or for the audience to break into smaller groups (not sure if this would work at all).
- the inability to actually hear an audience made things feel a little off, it’s almost as if you want a second stream so the audience and the band could see and hear each other - again not sure how/if this would work but I missed that probably more than anything else - I’m not a social person but I do miss being among fans!
Dean suggested that they may release audio of the shows at some point … so watch this space. He also mentioned the series of lathe cut singles that would be released soon - not too much additional information, except that their cover of Donovan’s Sadness would be included. Again… watch this space for more details.
Full setlist (posted to Dean’s Instagram):
- My Rifle, My Pony and Me
- Leave The Planet
- Hear The Wind Blow
- When Will You Come Home
- poem: The Canoeing Trip by Russell Eldon
- King of Spain
- Parking Lot
- You Turned My Head Around
- Blue Thunder
- poem: Extract from The Lichtenberg Figures by Ben Lerner
- Victory Garden
- Don’t Let Our Youth Go to Waste
Back in the days before things went all weird Luna were in Seattle to play a Bewitched show and popped into the KEXP studios for a session. It’s been a long time coming but video of the set has just arrived on KEXP’s YouTube!
Dean Wareham gave a 50 second sneak preview of a new Dean & Britta lathe-cut single on his Instagram yesterday. The single will be live versions of The Bee Gees Massachusetts and The Incredbible String Band’s Air, both recorded during one of their live stream concerts.
It’s another clear, square, plastic disc - more details when I get them - watch this space.
Dean & Britta will be playing another live concert from their living room sofa on Saturday 25th July, this time at a more convenient time for their European fans!
Britta and I have scheduled our next live show – Saturday July 25 at noon Pacific, 3pm EDT, that’s 8pm in the UK and 9pm in Europe. This time we will play a set heavier on Galaxie 500 songs. Hope to see you there!
The show will be at 12 noon PDT (3pm EDT, 8pm BST) and will again be streamed using the VEEPS platform and will be continue to be available after the live event until 2nd August.
Tickets are $11.50 you can also buy a “patron” bundle for $23.00.
This is recycled from my Everything’s Swriling last year - but 30 years seems a bit more significant than 29 so I’m reposting here … it’s a bit personal but … this is my blog
So… at, I’d guess about 22:30 on 27th June 1990 this happened (38 minutes and 22 seconds in):
… this pretty much changed the course of my life … as follows:
1990: I was working in the film stores at the BBC - not a great job but the pay wasn’t too bad (with some overtime) and enabled me to get out and see gigs. I’d already been there six years (apart from a 18 months as a film projectionist) so it was looking like I was stuck there.
22:30 1990-06-27 - Galaxie 500 returned to the stage for an encore after a brilliant main set - they were joined by Kramer and played Ceremony, followed by Don’t Let Our Youth Go To Waste. I was mesmerised.
1994: I’d been messing around with the internet from pretty early on and towards the end of 1994 I acquired some free web space. But what to do? So I taught myself how to code for the web and built a Galaxie 500 web page, because I still remembered that feeling from four years before. I was now a webmaster!
I’d now been working in film stores ten years … it was definitely looking like I was stuck there.
1995: I set up a mailing list for Galaxie 500 (and Luna and Damon & Naomi) fans.
1999: I’d managed to get a job working on a European digitisation project, I shared an office with BBC I&A’s first media managers who were then asked to help work on developing an intranet site for BBC Information & Archives - Research Central - I found myself roped in as the only person who had any experience developing for the web (becuase of Galaxie 500). I ended up doing quite a lot of the work on it. At some point it became my full time job.
Research Central changed over the years, it became research.gateway, and then Research Gateway - the job changed, the site changed - as people learned the web they needed less help and more tools - we gave them that.
200?: Actually I’m not sure exactly when, the powers that be decided that my skills (because of Galaxie 500) would be put to better use not as part of the archives but as part of the wider BBC intranet. Lots of people thought this was a good thing - but … taking me away from archives wasn’t good at all. Unfortunately over the following few years a variety of managers came and went and none of them had a clue what to do with us.
2013: After too many years of doing nothing and not getting anywhere I happened upon an advert for a job as the Webmaster at The National Archives. I applied for, and got, the job because of, you know… Galaxie 500. I was back in an archive. Home.
2020: 30 years on and I still get a buzz thinking about that show, 26 years on… still a webmaster.
Dean Wareham has written a piece for Möistworks blog about the making of Dean & Britta’s beautiful cover of The Seekers’ The Carnival is Over that was released a couple of weeks back both digitally and as a limited one-sided lathe-cut single.
In the article he discusses the original song and how their cover took a while to come together:
In 2008, in Jersey City, Britta and I attempted to record the song. We had gone into the studio to try a few covers, including the Cure’s “It’s Friday, I’m in Love.” We finished the Cure song but gave up on “Carnival”—it was probably in the wrong key for Britta’s voice. But when the pandemic hit and the world ground to a halt, the titled popped back into my head and I urged Britta to try singing it again. We opened the old ProTools files and discovered we had the percussion (by Anthony LaMarca), electric 12-string guitar, and a mellotron by Britta—all ready to go. Still, it took Britta more than a couple of attempts to figure out how to sing it. Sometimes when tackling a cover it takes time to get the original singer out of your head and deliver it in your own voice. Sometimes you have to admit that you and the song are not suited to each other at all. But not this time. Britta hit the loud, high notes and as Kramer pointed out, sang the song like she had lived it.
He also discusses making the video:
The video I made myself in iMovie, which is a first for me, but it seems we are all learning how to do things at home. I had some clips of Britta dancing (which I ran through a particular iPhone app) and another of Anthony LaMarca playing the drums at St Pancras Church, in London. Meanwhile, I had sent the song to a friend and fellow Seekers fan in Australia, who told me the song made him think of the final scene from Paths of Glory where Christiane Kubrick (the director’s wife!) sings to French soldiers who at first jeer and laugh at her, but are soon moved to tears. I tried the song against that clip and it was immediately very affecting.
This Friday (19th June) Bandcamp will be donating 100% of their revenue share to the NAACP Legal Defense Fund so Friday would be a good day to fill some of those gaps in your collection and see some of that money going to a good cause.
The recent killings of George Floyd, Tony McDade, Sean Reed, Breonna Taylor, Ahmaud Arbery and the ongoing state-sanctioned violence against black people in the US and around the world are horrific tragedies. We stand with those rightfully demanding justice, equality, and change, and people of color everywhere who live with racism every single day, including many of our fellow employees and artists and fans in the Bandcamp community.
This Friday, Stand with Bandcamp to Support Racial Justice, Equality, and Change
If you’re wondering what you might like to but here are a few AHFoW related suggestions to add to your wishlist and buy on Friday!
I’ll add to this list if I think of anything else - feel free to contact me with suggestions
The entire Galaxie 500 catalogue is available digitally on Bandcamp
- Today - Galaxie 500
- On Fire - Galaxie 500
- This Is Our Music - Galaxie 500
- Copenhagen - Galaxie 500
- Peel Sessions - Galaxie 500
- Uncollected - Galaxie 500
- you can also buy the whole lot for $42.62 - that’s 20% off!
Not all of Luna’s catalogue but a few gems can be had
Dean & Britta will be playing another live concert from their living room sofa on Saturday 27th June.
This time we are playing Luna songs exclusively. Sean & Lee can’t be there but will share in the proceeds.
The show will be at 6pm PDT (9pm EDT, 2am (Sunday) BST) and will again be streamed using the VEEPS platform and will be continue to be available after the live event until 6th July.
Tickets are $11.50 you can also buy a “patron” bundle for $23.00 or a (US only) concert/T-shirt bundle for $46.00 (all prices I’ve quoted include the 15% handling fee that VEEPS charge).
Dean & Britta hae recorded a home session for the Andy Warhol Museum’s Silver Studio Sessions series.
The session has the duo covering The Velvet Underground’s Ride Into The Sun and The Incredible String Band’s Air.
Luna have put up for pre-order a new design T-shirt - if you want a shirt you must pre-order by 23rd of June:
With all Luna’s tour dates for 2020 being canceled, we have decided to make a limited edition version of the tour t-shirt that we had on our February 2020 dates. This “Moonphase” image was hand-drawn by Mollie Tuggle. This is strictly a pre-order. Orders will be taken till June 23, when the amounts will be finalized, then manufactured by our old friends Tannis Root in North Carolina, and will ship out about a week later.
The shirt will be avialbale in either grey or natural (or white as we used to call it?).