Space Rock, Indie Rock
Stewart "Rosco" Roswell (ex Spaceman 3) - Drums, Guitar, Organ
Craig Wagstaff (91-) - Drums
Kevin Cowan (-92) - Guitar
"Waiting for the Angels"
Artwork By [Design] - Stiff Weapon /Mastered By - Jacko
Keyboards - Darren Windsor
Photography [Cover] - George Kilroy
Producer - John A. Rivers (also : Dead Can Dance,Eyeless In gaza etc. (tracks: 10) , Richard Waghorn
Performer, Written-by, Artwork By [Design], Producer - Darkside, The
Photography [Cover] - George Kilroy
Recorded August 1990 at The Abbatoir, Birmingham. Mastered at Tape One.
01 Guitar Voodoo (6:18)
02 Found Love (2:53)
03 She Don't Come (2:27)
04 Good For Me (2:38)
05 Love In A Burning Universe (6:09)
06 All That Noise (1:44)
07 Spend Some Time (3:11)
08 Don't Stop The Rain (3:24)
09 Soul Deep (7:00)
10 Waiting For The Angels (5:15)
Link to download:
"Somehow finding their way to getting a debut album down despite chronic lineup instability, the three members of the Darkside this time around create a good but honestly not great record in All That Noise. Essentially the problem is one of differing inspirations and what one can do with them. While Pete "Bassman" Baines' later work with the Darkside and on his own as Alpha Stone is much more distinct, here he and his bandmates coast in comparison, especially considering what his Spacemen 3 cohorts Sonic Boom and Jason Pearce were doing. Treat the album as a joyfully derivative diversion, though, and one will be in good hands. All three players know their psych/noise/folk-rock roots and how to work with them to skillful effect. Opening number "Guitar Voodoo" makes for a perfect intro, with a slow drum shuffle, a simple but quietly addicting bassline, and Kevin Cowan's guitar filigrees turning into heavy zoned and stoned glory. Followed immediately by the brief, snarling "Found Love," something of a Spacemen 3 slamming into the Jesus and Mary Chain effort, it makes for a great start to things, if at the same time showing the relative limits of what they can do. It's all fantastic mood music without question, but as the album continues it's also clear nearly everything starts calling back more memories of Spacemen 3 and that band's astonishing sense of reach and flow. Meanwhile, the Darkside are mostly content to pastiche the past instead of extending what's already there. Baines makes for a reasonable enough lead singer, but All That Noise still suffers in comparison, reaching an embarrassing low point with "Soul Deep," which tries to be Stax/James Brown-funky and ends up just stinking. The Byrdsy ring of "Good for Me" and "Waiting for the Angels" help things out, if only just." ~ Ned Raggett, All Music Guide
"Amazing psychedelia from the blistering opening track to the closer..this album is amazing, and was correctly heralded when it came out. too bad for these guys that it all came to a close early on...still this album is pretty amazing in its guitar work and drenched psychedelic, acid musings..Great Melomania is not worth getting its a piss poor album full of partial sloppy tunes."
"An overlooked gem of an album, this first (and best) effort by The Darkside will go down a treat with all those who like mellow and sultry 60's influenced psychedelia. From the moody instrumental opener "Guitar voodoo" this album doesn't put a foot wrong, moving from upbeat surf-psyche such as "She don't come", via warped Memphis soul ("Soul deep") to psychedelic epics like "Waiting for the angels"."
"This is Psychedelic music at it's very best. When I first heard this release I though to myself that Jimi Hendrix really wasn't gone, that he'd just stepped off the road for awhile and was now back for the flat out ride. The album builds slowly and takes you completely to the other side of the universe, but without all of the pretense and filler of so many other bands who try going this route without much success.
Ah yes, the reason for the success of The Darkside and their release “All That Noise,” with some of the best and most blinding cover artwork, can be summed up in two words, well actually a word and a number ... Spacemen 3. Yes, this is yet another of the splinter groups formed from the ashes of Spacemen 3. I think it would be a whole lot of fun to get all of these splinter / family groups together, in all of their incarnations, as one big band, for one big night of Psychedelic Music ... what a momentous event that would be. I’m sure I’d be dealing with the consequences for the rest of my life.
But, until that day, or night comes, we’re got The Darkside to shift us into hypre-drive and jettison our ears to the third ring of Saturn."
HIGH RISE LOVE (12") (1990)
Photography - George Kilroy
Producer - Darkside, The , John A. Rivers
Written By, Artwork By [Sleeve Design] - Darkside, The
Recorded at Woodbine Street Studio, 30/01/1990.
01 High Rise Love (5:20)
02 The Killing Time (4:29)
03 Can't Think Straight (2:13)
Producer - Darkside, The , John A. Rivers*
Written By - Darkside, The
Keyboards - Darren Windsor (track 01)
Recorded at Woodbine Street Studio, June 1990
01 Waiting For The Angels (5:11)
02 Sweet Vibrations (6:08)
Link to these two maxis:
"The first Darkside release was its most atypical, if only because the original Highrise Love EP is the only recording featuring the band's actual founder, Nick Hadyn, on vocals. He's a more forward singer than Pete Bassman turned out to be, with just enough of a rasp in his vocals to lend some bite, but the same sort of bliss-tinged atmosphere that seems endemic to Rugby-based vocalists crops up here as well. Call him the more distinct Tim Burgess if one wants, though there's no attempt at Madchester grooves here -- it's charging feedback stuff up top with the Spacemen 3 refugees bringing their own expertise to the bottom end. "Highrise Love" duly snarls and kicks along, with an attractive guitar break in the middle that hints at the band's greater powers, but it's the blasting "Killing Time," with pounding, tribal-touched drumming and a huge main riff, that's the real standout here. Hadyn's so good with his delivery it's regrettable he gave up music after this, while the concluding band blast is a total trip, loud and searing. "Can't Think Straight" makes for an equally fun, gripping track to wrap things up." ~ Ned Raggett, All Music Guide
"A good conclusion to the All That Noise album, "Waiting for the Angels" arguably works even better as a single, its good feeling and gentle surge giving the band a chance to create something just distinct enough from Spacemen 3 to count. The combination of Cowan's ringing, endlessly rising guitar and Hammond keyboard float -- especially when the former breaks into a great solo halfway through the song -- makes everything work wonders, while the rhythm section is no slouch either. The CD version includes a shorter edit while also appending, in a slightly curious move, the original version of "Highrise Love" with Haydn's vocals. There's one other new track as well -- the perhaps too obviously titled "Sweet Vibrations." It actually isn't a blissful Brian Wilson tribute per se, with a quick but not too speedy beat and some fine, fluid bass work from Bassman to recommend it. Cowan's equally fine guitar work, especially in the concluding, slow fade-and-return section make this a "should-have-been" candidate for All That Noise in place of some less distinguished songs." ~ Ned Raggett, All Music Guide
Tracks 01-05: Live at Moles Club, Bath, England on 19th January 1991
Tracks 06-10: Live at Dolce Vita, Lausanne, Switzerland on 19th April 1991
01 Guitar Voodoo
02 She Don't Come
03 Are You For Real
04 Spend Some Time
05 Love In A Burning Universe
06 Highrise Love
07 Good For Me
08 Sweet Vibrations
09 Soul Deep
10 Theme 91
Link to download:
"Taken from two separate dates in early 1991, the wonderfully titled Psychedelicise Suburbia only appeared in a limited edition run -- and on vinyl only, no less -- making it possibly the obscurest of the Darkside's major releases. Material from both All That Noise and the upcoming Melomania gets featured, along with some rarer numbers here and there, including a blast through the band's debut, "Highrise Love," here gamely sung by Pete Bassman in place of the long-departed Hadyn in a much lower pitch. While the earlier songs from All That Noise still betray their influences as much as develop them, Cowan in particular sounds really fantastic here, taking the tunes to a stronger level than before. The opening "Guitar Voodoo" sounds really nasty and attractive all at once, and from there things just burn right along as they should. Bassman's frontman role sounds perfectly comfortable for him -- his playing suffers not a jot -- and as a whole the slightly rejigged band, with Roswell moved over into organ and guitar work while new recruit Wagstaff handled drums, makes for an entertaining and often thrilling release. "Love in a Burning Universe" is one particular beneficiary, its combination of guitar bite and sweetly tripped out keyboard given heft both by Wagstaff's solid playing, especially when everything speeds up at the end, and Bassman's direct, effective sing/speaking. Another highlight, the B-side "Sweet Vibrations," gets a well-deserved showcase, sounding even more upfront and edgy than the studio take. "Good for Me" is the absolute business, starting as a pleasant psych-chimer before Wagstaff starts really pounding away and the whole band just takes off. Finally, the hyper-rare "Theme 91" closes things out, a Chocolate Watch Band-inspired instrumental that just plain shreds everything in sight. If there was any justice in the world, this album and the band's lost studio album would appear without hesitation." ~ Ned Raggett, All Music Guide
LIVE IN ITALY - Pata Mata's, Milano (04.25.1991)
02 I Found Love
05 Don't Call
07 Wait For Me
09 Waiting For The Angels
10 Burning Universe
11 I Did Not Come
12 Trying To Tell Me
13 Bright Light, Big City
Link to download:
Many thanks to my friend who sent this to me!!
"When did you become disillusioned with what the music media was offering you?
There was a turning point. I think Spaceman were at a time when a lot of stuff was changing. First, the economic situation of this country and the whole of Europe was changing dramatically. From the time that Spacemen started touring we noticed that everything seemed to be getting more austere. Second, the press. Spaceman had a lot of good press, plenty of features.
It was different with The Darkside. I think the press had got to a point where they knew that they could mould what people listen to, they could influence them very directly. Sometimes we'd play bad gigs and get great reviews and sometimes we'd play great gigs and get terrible reviews, and we couldn't understand it. But we were the kind of band that you could pick on quite easily because we weren't bothered about trying to be mainstream. In fact, we felt awful about it, and it felt like the wrong thing to do, going from Spaceman 3 who'd always existed as a non-conformist band to The Darkside which was propelled into the spotlight. Some of the reviewers just trashed us without any thought and showed themselves to be shallow and not particularly good writers.
They were doing it all the time: knocking a band down, building a band up, it all depended on who they liked that particular week. They were playing God. But NME, for example, could be entertaining and factual. Look back to the late 70s, Joy Division period, there was a lot of intellectual stuff, it was very dense and coming from a much weightier angle. "
MAYHEM TO MEDITATE (12") (1992)
Drums - Craig* /Guitar, Organ [Hammond] - Rosco
Producer - Darkside
Vocals, Bass - Pete* /Remix - Darkside, The , Paul Doyle (tracks 04-06)
Original versions of tracks 4, 5, and 6 appeared on the album "Melomania" (SITU 34 CD).
01 Straighest Shot (5:45)
02 This Time Is Mine (6:09)
03 Heart Of The Sun (7:40)
04 This Mystic Morning (Remix) (5:31)
05 This Mystic Morning (Dub) (5:31)
06 Cry For Me (2:55)
Link to download:
"The band's final release on Beggars Banquet and its associate labels, Mayhem to Meditate found the Darkside going through a notable change as Cowan departed, to be replaced by the increasingly assertive (from some points of view to a fault) Roswell. Roswell having played some guitar already on Melomania, it wasn't a complete culture shock, but the fact remains that Roswell's not quite as accomplished. He's good enough, though, and his general brusquer approach has high points, like the sudden feedback burst that leads into his brief solo on the psych/R&B combo "Straightest Shot" which leads off the disc. Two other full originals appear -- "This Time Is Mine," a slower number with a nice lazy strut to the rhythm and appropriately zony guitar leads, and the garage/go-go grooves of "Heart of the Sun." Any suspicions about Pink Floyd connections might be confirmed by a prominent mention about a "dark side" in the lyrics! The second half of the disc includes one number brought over unchanged from Melomania, "Cry for Me," and two dancier remixes of that album's "This Mystic Morning."" ~ Ned Raggett, All Music Guide
Drums - Craig*
Engineer - Richard Waghorn (tracks: 1, 3, 6) , Stuart MacMillan (tracks: 2, 4, 5, 7 to 9) /Engineer [Assistant] - Adrian Kavanagh (tracks: 2, 4, 5, 7 to 9)
Guitar, Bass, Organ - Kevin Cowden*
Mastered By - Jacko*
Organ, Guitar, Percussion - Rosco
Producer - Darkside, The
Vocals, Bass - Pete Bassman
01 Always Pleasure (3:44)
02 Feeling Flow (3:58)
03 Tornado (3:54)
04 This Mystic Morning (5:26)
05 Someday (3:00)
06 Are You For Real (4:41)
07 24 Hours (3:37)
08 Cry For Me (2:59)
09 Rise (9:52)
Link to download:
"The band's second and seemingly final album -- though a third is still stuck somewhere in record company vaults -- expands on the best points of All That Noise with considerably less of the drawbacks, making for a much better effort all around. Part of it could be the new lineup, with Roswell concentrating on keyboards and Wagstaff being a fine replacement for him on drums, but in general there seems to be an effort to be less one-note. While All That Noise did touch on a variety of styles, it seemed more like a cloning on them rather than an attempt to do anything with them. Melomania, on the other hand, takes that variety to create a more distinct sound, one that doesn't call to mind Spacemen 3 as much. Bain still has the lazy drawl singing from before, but he sounds more like his own man, while the group as a whole aims for something a little more complex and individual. Consider the subtle arrangements on "Feelings Flow," which almost sounds like a full horn section and orchestration at points, concluding with a brilliant, lovely solo from Cowan before a quieter coda. Then there's the just aggressive enough "Are You for Real," riding a more joyful rock kick than anything else, a rave-up for the heck of it that sounds downright fun, despite the sentiments of the lyrics. Some songs, like "This Mystic Morning," unsurprisingly call the mood from All That Noise to mind in its slow, dreamy shuffle, but the additional keyboards from Roswell, Cowan's semi-twangy guitar, and more help transform the song into something more. Concluding with a fantastic one-two punch -- the anthemic "Cry for Me" and the lengthy slow build burn "Rise" -- Melomania is a lost early-'90s pleasure." ~ Ned Raggett, All Music Guide
""Melomania" by The Darkside(not to be confused with Darkside), who was born out of the ashes of Spaceman 3, would quite simply be the best recording of the 90's even if it just contained one track: "Rise". "Rise" is a nearly 10 minute masterpiece of guitar virtuosity. Every other song on this recording is superb. Especially "Tornado". The bands first recording "All that Noise" is also outstanding. While "All that Noise" was more atmospheric, "Melomania" is hard driving guitar music. The Darkside disbanded years ago. So grab this CD while you can. It's almost impossible to find. Beggar's Banquet would do well to re-release it (along with "All that Noise"). I would love to know whatever happened to the members of The Darkside. Surely talented artist like these continued to make great music after breaking up."
"The Darkside's second and last album, this continues in the vein of 60's influenced psychedelia where their previous release left off. This has a greater proportion of more upbeat, "poppy" songs which is a shame; it is the slow-burning epics that they really shine on. The sinuous guitar line on "Tornado" is a treat, and the prolonged freak-out on "Rise" is quite simply superb. On the downside Pete Bassman's vocals may grate on some ears, but don't let that put you off investigating this excellent album."
"This is the third offering by The Darkside, and they continue to ride the Psychedelic Wave of some distant planet, bringing back a taste of mystery and splendor for us to sample ... leaving me to wonder what they actually hear in their own heads. They've progressed by bringing up the voices and smoothing things out a bit, but there's nothing repeated, redundant or even reminiscent of their previous releases ... other then more of the finest Psychedelic Music you are ever going to hear on this side of the galaxie."
The Darkside was one of several bands to emerge following the break-up of Spacemen 3 and adhered to a dark psychedelic yet more overtly pop-orientated template than their progenitor. The band formed in the Spacemen's hometown of Rugby and was led by Pete Bain (AKA Bassman), who had left Spacemen 3 just before their 1989 LP Playing With Fire. Bain was then joined in the new outfit by his former bandmate, drummer Sterling Roswell (AKA Rosco). Vocals were initially handled by Nick Hayden but his departure forced Bain to assume them. The group were signed to Beggars Banquet Records offshoot Situation Two throughout their existence.
The group debuted in 1990 with the single 'Highrise Love' and this was followed by an LP, All That Noise. With Rosco moving to keyboards, the group recruited Craig Wagstaff, whom they had known while in Spacemen 3. The Melomania LP then followed in 1992. With the departure of guitarist Kevin Cowen following the LP's release, Bain then assumed guitar duties for the EP Mayhem to Meditate. When Situation Two rejected the demos cut for a third LP, the band disintegrated.
Since the band's split, Bain has recorded several albums under the Alpha Stone name and guested on several of former bandmate Peter Kember's E.A.R albums. Rosco recently issued the well-received solo LP Ubik under his real name Sterling Roswell.(http://en.wikipedia.org/wiki/The_Darkside)
Rosco and Pete Bassman (né Baines), the original rhythm section of England's extraordinary Spacemen 3, formed the Darkside as a side band in 1986, devoting themselves to it several years later. On All That Noise, the Rugby trio has the Doors' old rainy-night bass/drums sound down cold, but that dubious achievement is the album's best feature. The other notable elements on this atmospheric but underwhelming record — Bassman's lazy artless-pop vocals, Rosco's wheedly organ, and guitar work that ranges from a translucent pop drizzle to floods of pseudo-psychedelic distortion — don't amount to much. Other than "Good for Me," the songwriting is too weak to carry the load. Lacking the obsessive intensity of the Spacemen or a strong personality of its own, the Darkside's candle flickers without shedding any light.Recorded as a quartet, the self-produced Melomania (for those without access to an OED, the title means "a mania for music") documents Bassman's second futile try at singing consistently in tune, accompanied by a narrowed dynamic range of stylish quiet and ragged loud, all slathered ineffectually in '60s ambience. With no sign of the first album's Doors fixation, "This Mystic Morning" does ape some of that group's Los Angeles folk-rock contemporaries reasonably well. Ultimately, the Darkside's incoherence, lack of conviction and threadbare compositional ideas go to show that a mania for music is nothing like a talent for it. [Ira Robbins]
Pete 'Bassman' Bain
was a member of Noise on Independant Street (1980),The Spacemen(1982),The Push (1984),Spacemen 3 (1986-1989,see:http://en.wikipedia.org/wiki/Spacemen_3),The Darkside (1989-1992),Supernova/The Supernova Quartet (1993),The Banana Spliffs (1994),Alphastone (http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=232875997) etc.
"The Darkside was not really me, sure I was a member of the band and wrote all the lyrics and a large proportion of the music, but I felt little empathy with the other members. I felt like my direction as a musician was compromised. That band taught me some hard lessons. It was the first and last time I was signed to a major label, a great opportunity thrown away. Every member was guilty in their own way of dragging it down; egos, squabbles and fragmentation until the band didn't so much split up as fade away. When I telephoned the label to tell them the group had finished and maybe they would want to do a press release I was told it was not worth it, nobody was interested.Life's a motorway. Particularly when you're in the slow lane..
...I felt that The Darkside was traumatic, it was everybody's failings that it never worked out for us whereas Spaceman was for me a very uncomplicated band and I enjoyed it.
The Darkside was a terrible mistake and I've got to live that down. It's a skeleton in the closet and I thought I'd better drag it out and make people aware of it. I basically felt let down by a lot of people and the whole thing was very ugly. Alphastone was a reaction that."
It got to the point where I thought that if someone comes up to us after a gig and says "hey guys, great gig, do you fancy signing a contract?" I'd probably just say "not really." [laughs out loud] I'd be really defensive and I'm not sure how I could deal with any speculative interest."
Pete can currently be seen playing with 'The Birdmen 3' and recording as 'Bassman'. He has also been guesting with 'The Meek' and 'Uberfuzz'. Andy plays with successful garage Rn'B outfit 'Auntie Alfie's Medicinal Cabinet'...
The only info i found is he took part on Richard Ashcroft's Human Conditions CD (2003)
is more commonly known as 'Rosco' and most known as a member of the legendary Spacemen 3 from age just 18, recording three albums. When they eventually split, he joined the 3's Pete Bassman in Darkside, producing two albums for Beggars Banquet. Later he came back to music and made some demos while living in Rome. These led to him being signed by Mint/Jungle, Mercury Rev's original label where he released his album ‘Psychedelic Ubik’ in 2004.(http://www.jungle-records.demon.co.uk/mint/mint16.htm and http://www.jungle-records.demon.co.uk/mint/mintcd16.htm)
More info about The Darkside:
http://sterlingroswell.com/ (it doesen't work now)
All That Noise (1990)
Psychedelicise Suburbia (1991)
MAMA BUBO - Planeta Haj (1985)
K.B. CAPS - Dancing In The Dark (1986)
I can't promise the next post sooner than the end of august , so be your summer very nice and see you in september!