01. Warehouse The Wicked
02. Black Aggie/ Persephone Again
03. The Daily Planet
04. My Name Is Tom
05. Murder At The Luau
06. I'm So Happy Today
07. Off Track
08. Eight Lancashire Lads
09. The Best Is Yet To Come
Considered a psych
masterpiece, the jigsaw seen’s sophomore effort My Name Is Tom was met with
ecstatic reviews when originally released by Skyclad Records in 1991 and has
been unavailable since 1993.
Available for the first time as a deluxe edition, My Name Is Tom is now a 10 song offering, adding all of the songs recorded during that period. Four of the songs (recorded for a follow-up EP and an Italian single) have never been released, and one, “Eight Lancashire Lads,”
only appeared on an extremely rare Skyclad compilation LP.
Recorded quickly in the spring of 1991, My Name Is Tom features current members Dennis Davison and Jonathan Lea along with former members Steve LaFollette (Beulah) and Tom Sullivan (Lords of Altamont).
The album kicks off with the ominous “Warehouse the Wicked,” giving way to the dark and delicate “Black Aggie”. A song that was re-recorded for the jigsaw seen’s 2001 Grammy nominated album Zenith, “Persephone Again” explodes on the scene next. “This track was recorded live in the studio with the only overdub being a toy Jack in the Box” remarks Jonathan. Arthur Lee & Love’s Forever Changes classic “The Daily Planet” is next given the jigsaw seen treatment, setting up the piece de resistance title track. The epic “My Name Is Tom” has become the band’s signature song, a 7 1/2 minute raga with Sonic Youth-like intensity. An edited version appears on Rhino/Warner Music Group’s critically acclaimed box set Children of Nuggets. The song is also featured on Apple iTunes’ “Essential Garage Rock” compilation.
The first previously unreleased track “Murder At The Luau” appears next, lightening the mood with a rollicking surf style instrumental, highlighted by some mind-bending guitar feedback, courtesy of Jonathan. The melancholy “I’m So Happy Today” creeps in with an acoustic guitar intro giving way to some exotic Mellotron and twelve-string guitar ornamentation. The introspective mood continues on “Off Track,” a sparse “Beggars Banquet” influenced piano driven tune with some countrified guitar picking from Jonathan and plaintive vocal harmonies from Dennis. The cryptic counting song “Eight Lancashire Lads” is up next. “We recorded and mixed this in a two hour session. We didn’t want to use drums, so we banged on a 2 x 4 with bottles.” comments Dennis. Jonathan switches to fuzz bass on this one, laying down a memorable Move-like elephantine line, while Dennis adds acoustic fuzz guitar. The album’s closer is a true garage barnburner. “The Best Is Yet To Come” is carried by some Lucifer Sam meets Mick Ronson riffage, ending the sometimes dark vibe of the album on an upbeat note.
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