Good and Gone

"Hey, where you goin' with
             that thing bucko?"

Big Beat original issue

WEA, signed by Bill & Kenny

Side One

1: Someone to Talk To (3:35)

2: I Want Up (3:35)

3: Good And Gone (1:42)

Side Two

1: You're Gonna Change (2:39)

2: Happy Home (2:53)

3: Tracking The Dog (2:58)

Buy the Good and Gone extended EP - with five extra tracks - at Amazon

Big Beat (Ned 7), and later WEA (240 650-1, WX 16)

Recorded at Elephant Studios, London. Produced by Vic Maile. All songs written by Bill Carter except 'You're Gonna Change' by Hank Williams, and 'Someone To Talk To' written by Bill Carter and Chris Thompson

The 'Good & Gone' EP was recorded in Spring of 1984, and released by Big Beat in Autumn of that year. In January 1985 the band were signed by WEA Records and the EP promptly re-released under WEA. On its release the EP went straight into the top twenty in the UK independent record chart and remained there for a full six months.

The original studio session saw 11 tracks recorded in all and the whole affair was financed by Ted Carroll of Big Beat. Carroll chose the 6 songs that featured on the EP, and of the five remainders only President Kennedy's Mile was later released intact on the 'Gun-Shy' album. The full session, or 'Director's Cut' ran as follows:

1: Happy Home | 2: Tracking The Dog | 3: You're Gonna Change | 4: Good & Gone | 5: Let's Go Down To The Woods | 6: Someone To Talk To | 7: President Kennedy's Mile | 8: Growing For Gold | 9: I Want Up |
10: Holiday Head | 11: Wild Blue Yonder

Folks who have heard early live shows will recognise the versions of Let's Go Down To The Woods, Holiday Head and Wild Blue Yonder, which all feature quite different intros to their 'Gun-Shy' counterparts. And if you've got the Twin Cadillac Valentine 12" you'll have heard a live version of Growing For Gold with it's Bo Diddly-esque rhythms and great choppy guitar sounds.

Good and Gone ~ reviews

Sounds

11th August 1984
By Andy Hurt

 

JESUS FREAKS

OKAY, so there are only six titles on 'Good And Gone' and it does play at 45 rpm, but this record thoroughly deserves its place among the album review pages, heralding as it does the arrival on disc of the Screaming Blue Messiahs, a new trio of been-around-a-bit geezers who brazenly fart in the face of fashion with their (be prepared to wince) rhythm and blues! – I know, I know.

There's no dodging initial comparisons with Dr Feelgood, a link that's underlined by Vic Maile as producer.

'Good And Gone' should really be regarded as a companion piece to the Messiahs' live blitzkrieg, but SBM still fare far better on record than did their Oil City predecessors, and in the substantial form of Bill Carter there's a mad axeman awesome enough to put the fear of God into anyone.

The 'album' splits 50-50 into the camps of rhythm and blues with the staggering masterpiece 'Someone To Talk To' opening affairs on side one.

This song is a total justification of the Messiahs' existence, and if they disappeared forever tomorrow they will not have laboured in vain. It's hard not to pick up the needle before track two and play this scorcher over and over again until that coronary finally catches up with you. A song to die for.

Stylus Magazine

15th December 2004
By Jason Pettigrew

 

SOME OF MY FAVOURITE THINGS

The Screaming Blue Messiahs – Good and Gone [Good and Gone EP]

I have fond memories of seeing Screaming Blue Messiahs guitarist Bill Carter conduct himself like a hybrid mutant of classic British six-string abuser Wilko Johnson (who vertically karate-chopped his strings in lieu of actual strumming) and freakish wrestler George “The Animal” Steele (who liked to chew up turnbuckles in the ring). While shored up by bassist Chris Thompson and tireless drummer Kenny Harris, Carter would beat the living shit out of his collection of Telecasters, as well as himself (I once saw him slice his thumb meat on an A-string at a gig), while spitting out crazy non sequiturs, seemingly one step ahead of state hospital orderlies. The Messiahs’ stock-in-trade was delivering a brand of jagged, chewed-up roots rock, spat back in the face of Americans over the course of three albums on Elektra. Their unhinged ferocity is the biggest reason why I’ve never cared for much of anything in the vein of insurgent country/y’allternative, or whatever they’re calling it in NYC and Nashville these days. (I do know that NO DEPRESSION magazine majordomo Grant Alden is a huge SBM fan.) This track, from their UK-only 1984 debut mini-LP of the same name, is a blast of angular, pub-rockin’ roots fury, approximating the Gun Club jamming with Captain Beefheart and Gang Of Four’s Andy Gill in one of those wide, gurney-accommodating hospital elevators. To slightly paraphrase Jim Thirlwell: if you’re gonna get down, get down and prey…

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