THE LEGENDARY PINK DOTS
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October 26, 2010
2xCD Beta-lactam Ring Records mt242a
4xLP Beta-lactam Ring Records mt242b
2xCD:
Disc 1
- Sandwich Abuse
- A Crack In Melancholy Time
- On Another Shore
- Greengang
- Siren
- Fifteen Flies In The Marmalade
- Nine Shades To The Circle
- Premonition 13
- Crumbs On The Carpet
- Neon Gladiators
- Love In A Plain Brown Envelope
Disc 2
- Madame Guillotine
- Bella Donna
- Hotel Z
- Tower 2
- Crushed Velvet
- Aarzhklahh Olgevezh
- Encore Une Fois
- Breakday
- Lisa’s Party
- Space Captain
- Evolution
4xLP:
disc 1
side A
- Sandwich Abuse
- A Crack In Melancholy Time
- On Another Shore
- Greengang
side B
- Siren
- Fifteen Flies In The Marmalade
- Love In A Plain Brown Envelope
disc 2
side A
- Nine Shades To The Circle
side B
- Premonition 13
- Crumbs On The Carpet
- Neon Gladiators
disc 3
side A
- Madame Guillotine
- Bella Donna
- Hotel Z
- Tower 2
side B
- Crushed Velvet
- Aarzhklahh Olgevezh
disc 4
side A
- Encore Une Fois
- Breakday
- Lisa’s Party
side B
- Space Captain
- Evolution
***
2010 (?)
NL MP3 self-released on Bandcamp
- Sandwich Abuse
- A Crack In Melancholy Time
- On Another Shore
- Greengang
- Siren
- Fifteen Flies In The Marmalade
- Nine Shades To The Circle
- Premonition 13
- Crumbs On The Carpet
- Neon Gladiators
- Madame Guillotine
- Hotel Z
- Bella Donna
- Tower 2
- Crushed Velvet
- Love In A Plain Brown Envelope
- Aarzhklahh Olgevezh
- Encore Une Fois
- Breakday
- Lisa’s Party
- Space Captain
- Evolution
Credits
- The Silverman- Keyboards, Devices
- Niels Van Hoorn- Saxophone, Flute, Steiner Electronic Wind Instrument
- Marin De Kleer- Guitar, Bass, Drums
- Ryan Moore- Bass, Drums
- Raymond Steeg- Sound engineer
- Edward Ka-Spel- Voice, Keyboards
Raymond collated the material and then edited and mastered it in July 2010 with assistance from The Silverman.
Notes
Packaged in gatefold sleeve with folded insert.
4xLP box set- limited edition of 350
Could this be The Legendary Pink Dots’ finest live document? Collected from shows during a seriously spectacular tour of France back in 1994, there are chestnuts here which were never repeated. It’s a wild ride, but there are moments when you can hear a glass tear hit the floor.
***
From the insert:
“It started with a dusty box of DAT tapes. Perhaps it was years since anyone had listened to them despite the tantalising labels,”Paris #1”, “Paris #2”,”Paris #3”… Indeed it was Paris where the Dots played their first residency in 1992. However, these tapes were a document of the Dots’ one and only 3-nighter from the 10th to the 12th of March 1994 at the delightful Theatre Passage du Nord Ouest. For this special occasion, HOURS of material were prepared and delivered in the certainty that quite possibly the same 300 or so people would turn up each night. Backing up that theory was the traditional shout of “champignons” from a mystery member of the audience on each of those nights. That clarion call actually began in Montreal a few years earlier, and we STILL hear it whenever we play in that city. It was ambitious. Sometimes the band was a little shaky but songs were played that were never heard again on a stage. Even so, some of the best shows happened outside Paris. In Marseilles for instance at Espace Julien a few nights later. A big venue and a surprising large turnout for another French city that The Dots simply fell for. What you hear on this collection is all from that 1994 tour culled from shows in the French capital, Marseilles and Toulouse (alas, nobody remembers the name of that venue).
Even so, the Dots’ French connection goes back to 1985 when they played in Strasbourg at Le Bandit. After playing in more sedatory venues in The Netherlands and Switzerland, this introduction to a French audience literally stunned every member of the band. Basically the crowd listened in complete silence as the notes were played, and would erupt like Vesuvius at the conclusion of a song. That show lasted for well over 2 hours.
We still love France. The landscape, the culture and most of all, the people. We’ll be back.”
Raymond collated the material and then edited and mastered it July 2010 with assistance from The Silverman. Sleeve artwork by Jesse Peper JESSEPEPER.COM. Design and layout by Chris McBeth