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Put the city you live in as the subject to help me avoid spam.
Schuylkill Haven is a small borough in the state of Pennsylvania, located about one hundred miles northwest of Philadelphia and fifty miles east of Harrisburg. It is located in the southern portion of Schuylkill County about four miles south of the county seat of Pottsville.
One of the earliest settlements within the borders of the county, it is generally accepted that the first settler was John Fincher, a Quaker from Chester County. A warrant for acres of land was granted to him on March 5, The land facing on the Schuylkill River,taking in the curve of the river, is today the west ward and part of the south ward of town. It is this year that the borough celebrates as the official founding.
Fincher built a house and barn at a point west of the current location of the center of the rail yard opposite Broadway now Fritz Reed Avenue. His home was located on an old road that crossed the river and thus became known as Fincher's Ford. These buildings were burned by marauding Indians on November 3, The Fincher family escaped and rebuilt at or near the original location.
In early September probably the 10th of , eight Indians approached the home. Fincher, his wife and three children greeted them in the hopes of establishing friendship and thus preserving their lives. The Indians ignored their entreaties and murdered Fincher and his wife along with their two sons. A daughter, Rachel, was taken into captivity, eventually reaching the Ohio Territory.
She was returned to Colonel Bouquet after he defeated the Indians at Kittanning. Tradition states that the Finchers were buried near their home, which stood until torn down to accommodate the right of way for the Reading Railroad.
Another of Fincher's sons, John Jr. His father's land was later awarded to him in Orphan's Court. He later deeded the land to Peter Conrad November 16, , who in turn deeded the land to George Merkel November 20, Merkel conveyed the land on October 1, to his son-in-law, Martin Dreibelbis.
With disregard to the aforementioned tale of John Fincher, Martin Dreibelbis, a German October 5, - September 10, is usually considered the first settler and founder of Schuylkill Haven. Early in the spring of , Dreibelbis came to present day Schuylkill Haven with his wife and two sons, Jacob and Daniel. He settled on the eastern bank of the Schuylkill River constructing a saw mill, distillery and grist mill, a portion of which served as living quarters. The grist mill was located west of the southwest corner of present day Main Street and Parkway.
This mill was used during the Revolutionary War as a refuge from Indian attacks. In he built a log home on present day Main Street which stood until it's demolition in He also built tenant houses for the workers employed at his enterprises. He eventually conducted three or four sawmills, two grist mills, a distillery, general store and a blacksmith shop.
In , Dreibelbis dammed the west branch of the Schuylkill River for the purpose of power generation. In he moved into a newly constructed home on Dock Street, living there only a short time until his death. At his death he owned an estate of acres encompassing all of present day Schuylkill Haven and Cressona extending east to Rest Haven and west to Beckville.
The fortune Dreibelbis accumulated during his life would have made him a millionaire in today's economy. Martin Dreibelbis willed the original town plot to his son Jacob. A second son, Daniel, received a part known as east Schuylkill Haven and the a third son George, received the Seven Stars tract on the northern edge of town.
The original plot of town was laid out by Jacob Dreibelbis in The original patentee had named this land "Petersburg' while Martin Dreibelbis had named his tract patented on the Fincher tract as "Martinsburg". The reason for the plotting of the town served two purposes. Schuylkill County was in it's early stages and it was believed that Schuylkill Haven could compete with McKeansburg and Orwigsburg for the honor of becoming the county seat.
Schuylkill Haven was originally believed to be favored due to it's water power facilities. This advantage was trumped by the actions of Orwigsburg when they dammed a stream and impressed the commission making the selection. Schuylkill Haven was not to be the county seat. The second reason to plot the town was the emergence of the Schuylkill Canal. Recognizing the importance of the location of our town, it was felt that developing the town was of great interest.
Provisions were made for a market square and a town square. Columbia Street was to be the main residential district. When Jacob Dreibelbis laid out plots, they were sold at cheap rates.
Daniel Dreibelbis's plot was later sold to a Reber and then a Dr. Kugler of Philadelphia who laid out building lots in In addition to historical information about the formation and early years of Schuylkill Haven, other unique and interesting news stories and facts will be offered here. It came so sudden, that those who had seen them but a short time before, were loath to believe it. The swollen river carried the bodies of the two coasters from sight in an instant and although searching parties were out all night, They were unable to locate the bodies.
Joseph, aged eleven years son of Walter Bast, and Floyd, aged ten years and son of H. Bast were the two unfortunate victims. They were cousins and nephews of Jeremiah Bast, the well known knitting mill proprietor.
After school the two boys, who were inseparable companions, took their sleds and went coasting on the hills. They romped about and were having a good time with their little friends until finally, a short time after five o'clock, they found themselves alone on the Berne Street hill, which has a very slight and easy grade.
They had coasted down the hill several times and it is believed they were on what they intended to be their last trip before supper when the fatality occurred. Their sled went gliding over the hard crust with Joseph lying on his stomach and Floyd astride his back. When they came to make the turn they found that on account of the hard crust on the snow that the curve was too sharp to make and as the sled went sliding towards the river bank they threw themselves onto the ground.
The momentum they had gained however was too great and clutching at the hard frozen snow, with desperate cries they slid to the edge of the river bank and with a plunge disappeared from sight. Edward Boyer, who was standing not far away, saw the terrible accident and after giving the alarm, rushed to the river side, but the angry rushing swirling waters had already swallowed their victims and carried them down the stream.
In a short time the banks were lined with people, while others waded through the river further down where the water was not so deep and the channel wider. No trace of the little fellows could be secured, however until late in the night the search was continued.
The river at this point is very much swollen and the current rapid on account of the rain and the melting snow the day before. The bed is mostly mud and it is feared that the bodies may be buried in this and never recovered.
The sled did not go into the stream but was caught in a bush along the bank and held there. When the parents of the boys were notified, they were almost frantic and would not believe that their children were cold in death when they had seen them but a short time before, so jolly and full of life. Both little fellows were known to everyone in Schuylkill Haven and were very well liked and made much of by the older people as well as their playmates.
A shadow seemed to rest over the town last night and this morning, the terrible tragedy being the sole topic of conversation and the only thought. It was a shock such as has not been felt in the town for many years and the sorrow of the parents was shared in a degree by everyone and they have the deepest sympathy of the entire community. A special committee appointed by council held a meeting on Wednesday evening at which they discussed the ways and means.
The committee which is composed of Robert Hoffman, George Berkheiser, Arthur Yost and Oscar Bast made reports regarding their visits to other places, giving as examples the town of Kutztown, with people, Tamaqua and Coaldale in this county, all three having nice town halls for about this figure.
The council owns a plot of ground on the west side of Dock Street between Main Street and Paxson Avenue, and the town hall will be erected on this spot. At the present time Schuylkill Haven council meets in a room which is fifteen feet in length and fourteen feet in width, and it is too small to accommodate any taxpayers who might wish to be present at council proceedings.
Besides this there is no downtown office for the light company, the borough jail is too small and in such a location as to be useless, and there are a number of other reasons why a town hall has been boosted for Schuylkill Haven. It is the intention of the borough to erect the building within the next few months and in all probability an architect will be employed at the next meeting to draw up a set of plans.
Bids will be asked for and the contract awarded as soon as possible. The building is to be a two story brick one, according to present plans, and it will require only a short time to erect this. It will include offices for the borough officials, board of health officials, office for light, meeting room for council, an auditorium for small public meetings and also a borough jail.
The authorities contend that it will cost less to conduct a town hall then paying rent for various buildings at the present. Articles on this page are now grouped by type and in chronological order.
Newest articles are highlighted with a yellow background. These two articles address the beginnings of electricity in Schuylkill Haven. Pottsville Republican February 5, A prominent citizen of Schuylkill Haven writes to the Republican as follows: The Schuylkill Haven Borough Council adopted the Thompson-Houston electric arc light at their regular meeting last Tuesday evening, and in our estimation it showed good sense and judgement in giving the citizens a good and superior light even if it would cost a trifle more then the Edison and Westinghouse.
The committee appointed by Council, comprising Messrs. Va, Harrisburg, Pottsville, Mahanoy City, Shenandoah and several other places to inquire and inspect the electric plants of the Edison Westinghouse and Thompson-Houston systems, submitted their report to Council on Tuesday evening.
Meyers, Porter and Snow respectively. After some discussion it was unanimously decided to adopt the Thompson-Houston electric arc light as most suitable for the borough.
It has been darkly hinted by several citizens of this enterprising town that the committee received boodle for making a more favorable report relative to the plant now adopted. The gentlemen comprising that committee are honorable and upright citizens in every sense, and their refusal of boodle offered by an agent of a different company showed the honesty and backbone that was in this committee and should be commended. We hope Council will immediately take steps to have the town lighted by electricity at an early date.
It is unnecessary to say that everyone was pleased even those who were first opposed to the cost of the plant to be erected by the borough, but the progressive council braved the storm of opposition and now every taxpayer can see the result and the advantages of well lighted streets. The light was turned on at 7: At present forty-five lights are used to light the streets and every one confess it is an improvement that will pay for itself in a few years. To vary the monotony of seeing a flood of light surrounding the town, a game of quoits was resorted to under the new light at Greenawalt's store, and created some amusement for the bystanders.
At last accounts the advocates of the electric light were ahead and scored many "hobs" and finally won the game. Moser, Felix, Reifsnyder and Mulholland inspected the lights last night in their official capacity./p>
The majority of the songs on this new album don't duplicate Kieran's earlier live releases, and they range over a wide timescale, emphasising the sheer consistency of his world-vision over his long career. Even on those songs which have appeared before on his live albums, Kieran always manages to find something new to say, while his most recent writing shows him still developing his themes and concerns in a credibly contemporary fashion.
And I've already enthused about the wonderfully complementary guitar work of Kieran and Chris, whose contrasting styles that coexist admirably yet also spark each other to fine new expressive heights. Neil Halstead - Sleeping On Roads 4AD Gestating over two years, the solo debut from the lead singer of Mojave 3 isn't exactly any radical musical departure from the day job.
Which means more Nick Drake infused delicately miserable country-folk, pretty tunes and hushed lazy vocals. Their bare acoustic guitar bones fleshed out with banjo, cello, trumpet and keyboards, it's all very pleasant stuff, the Leone touches to Driving With Bert especially attractive with the gently rolling leafy mood of Two Stones In My Pocket, the slowly swelling guitar-borne dream of flying free that's See You On Rooftops and six minute reverie Dreamed I Saw Soldiers the most obvious highlights.
But with no obvious personal agenda to the songs themselves and no sense of exploring musical directions frustrated by the band confines, it doesn't really seem to have any reason for its existence other than proving he could do it. You are excused and we'll see you later OK, now they've gone and we can get down to Ed Hamell's latest collection of acoustic-powered, folk-punk genius. It's wild, funny as hell with lyrics that slice like a knife at a crime scene.
What you get is a guy with big opinions, stories from which to make film scripts and a lot of acoustic strumming over inspired percussion.
Some of his stories are true Downs , his recovery from a near-death car accident with the aid of a pharmacy of morphine and derivatives , or he's the voice of an angry God Don't Kill , 'what part of Thou Shalt Not Kill don't you understand?
Surreal at times and poking fun or the finger at a multitude of targets, there's a hilarious bizarre internet romance First Date , a small tale of blackmail and a gang rap Dear Peter, When Destiny Calls , with guns accenting various verses - not literally - and Hamell firing words of warning There Is A God , and - maybe literally - hitting dustbin lids Tough Love!
No sweet harmonising, she does a fine job in edgily keeping up with the Hamell whirlwind. He's supported her on tour and she's extended her support for him by signing him to her Righteous Babe label.
Tough Love is a Triumph. No 'singing between the lines', Hamell comes at you with a punch and this one is his best right hook. Straight into my pile of Best Albums of the Year.
Hamell is a showman who shocks. He's a wild weapon of communication - an urban folk-punkster, a thrash-rocker who fires songs at you which are not exactly hot on forgiveness and compassion. He strums like a man possessed, he's outrageously funny and utterly compelling. Choochtown feels very ' live ' though some tracks are supplemented by drums, bass, electric guitar, trumpet and samples. Let's face it, this isn't sensitive stuff, so if you in the mood for something pretty and singer-songwritery, this one isn't for you.
On the other hand, if you like your songs honest, bad and bloody - and you think Bob Dylan, Lou Reed or Loudon Wainwright are a little tame these days, Hamell's your guy. This man is brilliant and he's at The Borderline again on November 2nd. Finally, a joke from Hamell's on-stage, mostly unrepeatable banter, " What has four legs and an arm? As Rebecca Hollweg's other half, he also played on and produced her album June Babies. Now he's finally made his own and, not surprisingly, several friends dropped by to return the favour.
It takes a few listens, but it sneaks into the bloodstream. And it goes without saying double bass aficionados should purchase forthwith.
The quite-newly-launched Cherry Red subsidiary label Esoteric is currently doing a splendid job of reissuing all the albums of celebrated songwriter Josephine Claire Hamill, who was also quite recently hailed by Record Collector mag as "the finest vocalist you've never heard" yes, I do like the presumptive eloquence of that description!
As a taster, though, comes The Minor Fall, The Major Lift, a handsome two-disc retrospective compilation covering virtually the whole of Claire's career to date to and spanning the records she made for Island, Konk, Beggar's Banquet, Coda and finally her own label.
If I'm totally honest, I don't entirely connect with some of the prog and then New Age modes with which Claire became engaged from the late 70s through to the late 80s, a blandness too far on occasion for me perhaps, but the sample tracks from the albums made during that period encapsulate what she was doing pretty well.
In all, it's actually a very sensibly programmed compilation, and certainly whets the appetite for the forthcoming projected complete reissues of all the individual albums over the next year or so and prompts a re-evaluation on my part.
And even Claire's staunchest fans will probably not own all of those albums! So to those issued thus far One House Left Standing was the product of the ingenuous Claire's signing with Island at age 16, and ambitiously showcased her nascent songwriting and her enviably pure and uncannily cultured singing voice on an unexpectedly wide-ranging set of songs, mainly penned by Claire herself some with her then-boyfriend Mike Coles.
The record started out stylishly, with the kittenish Dixieland swing of Baseball Blues whoa, what an opener! It's a persuasive set that wears very well indeed, and its ten tracks are topped up with two bonus cuts, the lengthy and intense single B-side Alice In The Streets Of Darlington and a cutglass cover of Lindisfarne's Meet Me On The Corner featuring Gerry Rafferty and Stealer's Wheel as backing musicians. A more pronounced Joni Mitchell influence also seemed to be present, especially in the melodic contours of songs like To The Stars.
There are some sensitive string arrangements too courtesy of Nick Harrison , and the final track Peaceful was even recorded alfresco in the cold in the middle of the night! The odd-track-out is a quite strident cover of Jimmy Reed's Baby What's Wrong With You which, well done though it is, breaks the flow of the album's original second side somewhat. Sadly, there are no bonus tracks with this reissue - but, as with One House The third of the reissued albums, Voices, propels us forward 12 years to , by which time much water had flown under Claire's musical bridge.
At that time, Claire was settled and married, and had just supported Rick Wakeman on a national tour. At the instigation of her husband Nick, Claire dipped her tentative toes into the then-nascent New Age genre, recording a whole album based around the concept of a vocal interpretation of the changing seasons. Using then-pioneering layering techniques to create a thick, ethereal soundscape from her own extraordinary vocal performances, Voices proved a startlingly original record which genuinely broadened musical horizons, astounding listeners and defying preconceptions of what might "sell".
Heard now, it seems a verys artefact, rather akin to Kate Bush without the outlandish eccentricities I thought, and definitely a precursor of what's now regarded as the Enya sound especially in its wash of swooning, shifting vocal colours - but it doesn't sound dated in the way that much 80s music does, and it contains some inspiring and uplifting composition.
From the vantage point of two decades on, it's easy to underestimate how inventive and original this music was back in the mids, and this repackage allows us to reassess its magic in all its aural splendour. The fourth album to be reissued in this series, Love In The Afternoon, dates from , a time when Claire was on a creative roll after the massive success of the Voices album. It's a collection of songs without an overall concept, and although it doesn't suffer from disunity in that sense and there are some fine songs among its nine tracks it still doesn't quite satisfy as an entirety.
Trees, Japanese Lullaby and to some extent Glastonbury and the title track are to some extent all style-defining within Claire's later output, but the album's standout is probably Beauty Of England which is drawn from an aborted concept album Domesday, about the Battle Of Hastings. Love In The Afternoon shares with many albums of its time a distinctly 80s synth-dominated backing, which now makes it sound quite dated more so than Voices , and this dilutes the impact of Claire's writing somewhat for me.
It would be interesting to hear some of these songs with a less elaborate textural backdrop. Best known for a string of albums on Island Records in the early seventies, Middlesborough vocalist Claire Hamill has never stuck rigidly to one formula, reinventing herself along the way as New-Age songstress, occasional rock-chick singer with Wishbone Ash and conceiving the remarkable 'Voices' album, which featured multi-layered arrangements of Claire's erm, voice!
Released in , her most recent studio album sees Claire return to the comparative comfort zone of singer-songwriter mode, yet several of the songs in this collection stand comfortably alongside the best of her earlier work; the jazz-tinged 'Beautiful Moon' featuring the moody trumpet of Duncan Mackay, a song which would not sound out of place on a record by Madeleine Peyroux or Diana Krall and the bright 'In the Leaves of the Park', as crisp and clear as a brisk Autumn walk.
Claire obviously has a keen ear for a cover and her little-girl-lost vocals are perfectly suited to 'Blue' from the pen of McAlmont and Butler.
We also get another chance to hear the beautiful 'You Take My Breath Away', re-recorded due to the renewed interest in her work largely thanks to the surprise discovery of a recorded version of Claire's song by the late Eva Cassidy. There is an air of melancholy throughout much of this album, even on the uptempo 'Mr Wonderful', but it is an emotion that Claire handles better than most. On the closing track, 'Singer', she proclaims "where did you go, I used to buy your records many years ago.
She's been likened to Bush, Harvey and Lennox as well as Regina Spektor and Imogen Heap, and while you'll hear the comparisons, she's still very much her own voice.
The album is an exotic musical journey, brushing the multicultural world wings of dreamy celestial pop tinged with Gaelic mist Exist , cobwebby jazz soul folk The Bush infused Pick Me Up , airy Brill building balladry There It Is , the panoramic rhythms of African plains How Beautiful , and the melting icicle soulful ebb and flow fragility of Deeper Glorious. Then there's the Weill cabaret shades to All In Adoration with its puttering percussion beats and woodwind trills, the classical hymnal majesty of Liathach's choral beauty and, drawing on her time in Cambodia, the intoxicatingly hushed seductiveness that is Mekong Song.
She's releasing Winter Is Over a a trailer single, a playfully catchy pizzicato plucked strings waltzer that suggests a sort of Oriental Bjork by way of an arthouse 40s Broadway musical.
But it's the closing Think Of Me that's the real deceptive killer, a windchime, musical box Gaelic lullaby that floats you away on a pillow of clouds and twinkling night stars. Sophisticated, sensuous, complex, layered and utterly beguiling, there's a song here called Paradise.
A better description of the album would be hard to conjure. Well there's certainly plenty evidence of a rock edge and drive here, but his roots are certainly showing, too. Just seven songs of high quality combine a Guy Clark-like fondness for characters and story-telling with a very twenty-first century musical approach.
Three tracks of random radio stuff "reception 1", etc don't make too much sense to me; I guess it's an attempt to make the songs seem like random unknown voices from the ether too. Nonetheless, bags of atmosphere are conjured from some pretty sparse ingredients; Nathan's warm, slightly fractured vocal on Cinders is sung right up against the mike and supported by an arrangement of great delicacy shot through with steel - reminiscent, I suppose, of one of Lou Reed's painfully intimate songs.
If Cinders was on your mp3 and popped up out of the blue I think you'd have to stop what you were doing to drink it all in. Weary World, on the other hand, demonstrates an ability to make an apparently simple, straightforward tune and lyric carry an awful lot of emotional weight, not an easy trick to pull off whilst Change could have come from Nels Andrews' songbook; it has a similar weighty, considered style to the acoustic guitar sound, an echo-laden pedal steel for the atmosphere and an acute sensitivity for the disappointments experienced in real lives - a long way from the vacuous optimism of pop music.
Receive, in contrast, gets the electric guitar brought out and a pretty fuzzy, heavy sound backed by a thumping drum; Nathan's vocals have the edge required for a very good rock voice and the warmth that draws you in for the quieter, folkier songs.
It's a slow-burner, this one, and it'd be well worthy buying or downloading what you can and familiarise yourself with Nathan Hamilton's style before you check him out live; there's hidden treasures here and I think the man could be a real find.
It's a bit over two years since Peter's last solo studio recording Incoherence , but he's been busy over that time, not just with the VdGG reunion tour and remasters but also in supervising the remastered reissues of his 70s Charisma solo albums.
All despite having suffered a heart attack, an experience which no doubt played a part in triggering this new set of songs on which Peter reflects on mortality and on considerations of history both personal and public. With admirable, if typically cryptic succinctness, Peter admits that "the main theme here is the long dive down into not being what we were", and in confronting this situation I think he's produced a very fine set indeed, one that ranks with those Charisma albums in actual songwriting power yet doesn't possess anything like the impenetrability or degree of turn-off idiosyncrasy that many music-lovers had often found such a barrier to appreciating his earlier output.
That doesn't mean to say that Peter's abandoned the experimental elements in his music - indeed, the urge to forge new and intriguing sonic landscapes is as strong as ever eg the fragmented voice and treated-piano textures of White Dot ; and Singularity is once more a totally solo effort, all instruments and voices you hear belonging to Peter himself. Lyric-wise, the Hammill hallmarks of literate and expressive heart-baring are there in abundance, yet imbued with a new maturity in their freshness of execution.
What was once a distinctly inward-looking narcissism is replaced by a worldly realism, often quite self-critical and definitely not devoid of humour. Peter's metaphors are still intelligently conceived, but they're inclusive not opaque, and the music expresses a fragile tenderness amid the sometimes still painful recollection and assessment of a personal situation.
Peter uses the key word "singularity" in both senses: At its most intense as on Event Horizon , Peter's writing exhibits an expressive beauty that's both accessible and immensely compelling. Now if in the past you were put off more by Peter's intensity, by way of his histrionic vocal delivery, than the actual admittedly often impenetrable content of his songs, then I firmly believe that Singularity may be the album to now give you the optimum chance to re-evaluate his music - for although it's still recognisably Hammill, the actual expression of the drama and thought-content within the songs is toned down naturally not in any way dumbed down, I hasten to add and, allied to some genuinely interesting musical content, makes for a most rewarding listening experience and hey, Naked To The Flame even contains a snatch of tune we can whistle along with Peter!
But that doesn't for a moment mean that Peter's compromised his ideals or his talent. Singularity is a grand achievement by any standards, flying defiantly in the face of those who'd argue that anyone who's been writing and recording for 40 years is bound to have nothing new to say.
Following in quick succession barely a month after the previous batch, here's the second tranche of Peter Hammill remastered reissues, covering his four solo releases which originally came out between March and October The album does, however, at least seem to audibly begin where Nadir's Big Chance left off, in the sense of throwing at us the proto-punk riff-heavy vibe of Crying Wolf.
Over comes with three bonus tracks: Coming complete with some striking cover photos like the front shot which I always thought made PH look like Kenny Everett!
Although there's often a distinct sense of trial-and-error about much of the album, it's amazing how it hangs together and although it's not my favourite Hammill album by any means, it nevertheless retains an aggressively confident quality right through.
The two bonus tracks, spare versions of album tracks If I Could and The Mousetrap taken from the Kansas City tape, exude an intense self-containment. The followup, pH7 which turned out to be Peter's final album for Charisma , appeared just over a year later, in October ; Peter regarded it as a twin to Future, and certainly it contained a rather similar mix of experimentation and social commentary.
Its at once punning and misleading title it was PH's eighth album not his seventh! It began, however, with two for PH less characteristic tracks: My Favourite, a fairly lightweight pop-love-song with slightly laboured imagery redeemed by a charming string arrangement, and then the declamatory new-wave stance of Careering.
Thankfully there's stronger material to come: Not For Keith is a brief but affecting tribute to VDGG's first bass player Keith Ellis; Handicap And Equality harks back to the social-commentary folk-troubadour approach, whereas The Old School Tie is an even more obvious attack on politicians and the dawn of spin, imbued with all due venom and bile.
Imperial Walls, a setting of 8th century Saxon words found displayed at the Roman baths at Bath, has a scratchy grandeur all its own. Compositionally, the album's odd-man-out is an old song of Chris Judge Smith's Time For A Change , but it's a tribute to Peter that it suffers not from the comparison with his own songs. A Black Box, released in the late summer of , was a go-it-alone independent-label effort, self-released on S-type Records almost as a gesture of frustration at the albeit inevitable situation of being dropped from Charisma due partly to the ever-familiar story that although Peter's albums were critically esteemed, his music wasn't deemed commercially viable.
Like most of Peter's music, it can at times be tough going but it invariably rewards the patient listener. In common with the previous batch of Hammill digitally remastered reissues, the above four are state-of-the-art, and sound better than ever. All sleeve art and lyrics are faithfully reproduced, and the reissues benefit from Peter's own commentary within the booklet notes. Listening to these albums again in sequence I experience an embarrassment of riches, a torrent of ideas and feelings that's truly overwhelming.
Peter's songs are singularly dramatic, turbulent, restless, angst-ridden utterances, yet they often possess much quiet beauty both musical and lyrical amidst all the torment.
The second and third and suitably lengthily-titled! Chameleon, though a typically introspective collection, is compared with some of his earlier VDGG work less concerned with wilful sci-fi obscurity and more with the deeply personal; if it were issued today, I suspect it would probably fall most readily into the indie category notably in respect of the occasionally brittle nature of the home-studio-produced sound and its primitive, much-of-its-time approach to stereo imaging , but that's not in any way to denigrate its many abundantly impressive qualities.
As Peter himself admits, he was "stumbling under the guidance of instinct as much as conscious innovation", although "many of the moves he made at this time were to prove pivotal in his later development".
Like all of Peter's work, it's music of startling, nay frightening originality. In matters such as his distinctly independent spirit and obstinate integrity especially I often hear a kinship with significant mavericks like Bowie and Harper, but the truth is that for the most part Peter's songs sound like absolutely nobody else's, even though there may be elements and echoes of modern-day chanson flooding through pieces like In The End and the sinister pastoral of What's It Worth.
And he was at first slow to distance himself completely from VDGG, as Easy To Slip Away with its throwback to the personae of Refugees and In The Black Room a song originally destined for the band's next, unrecorded - intended fifth - album, with its grandiose, episodic nature and band dynamics both show in their different ways. Chameleon may be the first real fruit of Peter's potential solo career, but it's an astonishingly assured and coherent album.
Even at a temporal remove of some 30 years, it's almost too much to take in at once: This remastered edition comes with three bonus tracks: The third bonus track Rain 3 AM is an unreleased curiosity from around the time of the album: Peter's pulsating electric guitar work on this track in particular betrays the influence of Spirit's Randy California, who made a one-off guest appearance on another of the album's key tracks, Red Shift.
Of the four bonus cuts, three are versions of album tracks which come from a roughly contemporaneous Peel session with David Jackson in tow , the last The Lie being another delightfully over-the-top selection from the abovementioned Kansas City concert. In Camera was the first Hammill solo album on which everything aside from percussion on just three tracks was played by Peter himself. It continues the startling advances made on The Silent Corner, notably in terms of wild experimentation, while the sheer scope of its material bravely presents the listener with at times uncomfortable challenges in the form of extreme contrasts, from the relatively orthodox reflective confessional of Again to the rockist angst of Tapeworm, the intriguing guitar-quartet setting of The Comet, The Course, The Tail to the ultra-synth texturings of Faint Heart And The Sermon, and the strange but logical pairing of the harmonium-rich Gog misprinted as Go on the back cover - oops!
Three bonus tracks, taken from a Peel session recorded shortly after the album's release, are sparse voice-and-piano readings of two of the album's songs plus a real rarity: Though released in February , barely six months after In Camera, Nadir's Big Chance saw the Chameleon mutate dramatically into Rikki Nadir, a kind of proto-punk alter-ego!
The album comprised a set of by Hammill standards pithy quasi-pop-songs though in practice few of them weigh in at under four minutes! Not unnaturally, it was received with some puzzlement and a degree of antipathy, but in retrospect, although it's not necessarily Peter's finest forty-seven minutes, I really rather like it for what it is - and it sounds great in this remaster, even though it yields no bonus tracks.
The digital remasterings of these four albums have been carried out by Peter himself, and he's opened out the original slightly thin sound with far better presence, notably in certain of the bass frequencies, and the bonus tracks are well worth having; these sensibly-coordinated reissues, which are graced with additional new notes by Peter too, are state-of-the-art.
A few months after Nadir, VDGG ended its four-year set-aside, and the Godbluff lineup was to take up most of Peter's time for a year or so; a convenient point at which to break my survey of Hammill remasters - the next batch will appear shortly.
This has actually been a really difficult record to review, basically since it's nigh impossible to capture the incredibly individual essence of Brighton-based Mary's wildly original and very very special talent as a singer and songwriter. It's also one of those "less is more" jobs that makes much out of exceedingly minimal resources.
And it's a seriously scary experience from beginning to end - at times it's almost too disturbing to listen to at all except in the comfort of your own mind.
But the first thing you'll hear, after the bald tenor guitar intro that is, will be Mary's totally extraordinary voice, which will bring your ears stark upright, for it takes the art of singing into an unearthly place indeed you'll either love it or hate it with a passion, I suspect - and I love it!
It's a voice of paradoxes: Mary's writing - and indeed her whole sound-world - is peculiarly haunting. Imagery is spellbindingly strange, both significantly eldritch and properly poetic, sometimes ostensibly impenetrable but always keeping a firm handle on the boundaries of perception.
Melodies sound primordial, ancient, modal, yet with adventurous turns of the screw. The feel of the music, and some of the instrumentation Mary has at her command, is imaginative and often distinctly ISB for instance, there's a gorgeous swooning cello line on Honey that just cries out to be played on bowed gimbri! A small complement of extra musicians including Alice Eldridge, Jo Burke, Alistair Strachan, Grant Allerdyce and co-engineer Joe Watson supplement Mary's guitar, being used eminently selectively and to brilliant effect.
Perhaps the most striking marriage of words and music comes on The Bell They Gave You, but every song here has much to offer in terms of aural and verbal stimulation and even the interpolated samples on Free Grace and the cryptic Exeunt don't grate or disrupt the album's curiously logical flow.
Features that might in lesser hands become just a gimmick here prove essential to the impact of the songs - for example, the hidden track Encore For Florence a weirdly touching tribute to celebrated "tuneless, tone-deaf soprano" Florence Foster Jenkins sets a parlour piano amidst the faux-crackle of an ancient 78 in the manner of a fusty attic discovery.
And maybe the strangest and most immediately memorable among the host of strange songs, is the acappella Ballad Of The Talking Dog, which takes the time-honoured "bunch of green holly and ivy" refrain from the domain of classic folk balladry and twists it around multiple vocal chords to the creepy accompaniment of hand and mouth percussion, with spectral whistling, discords and spoken counterpoints - it sounds like the Addams family singing a Child Ballad at their fireside on a bleak winter's evening!
Like the whole album in fact, this track is at once soothing and discomforting. All in all, an extraordinary record: Wayne The Train Hancock is one of those guys who believes in doing things the old fashioned way.
Well, at least when it comes to recording. Extended sessions in the studio are not for these boys. A Town Blues was recorded in 20 hours and mixed in two days.
Bloodshot Records, their new label, might even be accused of providing them the luxury of extra hours. Well, at least a couple of them. The reason that he's able to do this is that the band is a hard working outfit travelling the road performing more than most. The net result is that all their albums have a spontaneous feel well, they would, wouldnt they and a bunch of songs that have matured with performance on the road. A recipe that has worked fine for all of their albums.
At the production controls, this time, is Lloyd Maines who is favoured by many of our country music friends in the US. Rightfully acknowledged on this album as The Professor for all his sterling work in this area. He closes out the album accompanying Wayne to get the regulatory forty minutes of CD time on Railroad Blues. A track that's as live as you'll get. So, if you havent gathered already, the music of Wayne Hancock is country - the honky tonk way. All styles are here.
The up tempo songs swing along with a highlight in Miller, Jack And Mad Dog warning of the dangerous effect of the demon drink and driving combination. There are lonesome ballads such as Happy Birthday Julie which has the singer passing on congratulations to the girlfriend who left him and got killed in a car crash.
Mr Hancocks pen accounts for ten of the tracks with the others including Cow Cow Boogie which was made famous by Ella Mae Morse who was popular in the s and 50s. This gives you a good clue as to where this band are positioned. Yes, its traditional honky tonk in all its flavours with great songs done just like a live show. The odds have to be that Hand - whom Willie Nelson describes as the 'real deal' - will remain as unfazed and unaffected as his music by the acclaim that will surely follow The Truth Will Set You Free.
While the revolutions of Americana, 'big hat' country and 'nu country' have swirled around him, James Hand has steadfastly remained true to the heart and soul of old country, the kind that served Hank Williams, Lefty Frizzell and Ernest Tubb so well. While a 'career' musician, one who has done nothing else in his life, may have to search long and hard for the truth of his songs, Hand has to look no further than his own life. He has also drawn deeply on a lifetime's experiences at the 'unknown' end of the musical spectrum, James Hand isn't showbusiness, to echo Nelson's wise words, he's the 'real deal'.
This collection of a dozen originals gives a small overview of Hand's work, his country music encompasses the whole range, beginning with the wonderfully light and sunny swing of Banks Of The Brazos and ending with When You Stopped Loving Me, So Did I, not only a classic country title but a song that could be as old as country music itself.
Without Hands's tender touch it could easily have been swamped by corn, however three chords and the truth never hit home quite so sharply. There's almost a novelty factor in listening to an artist play pure, undiluted country music, no whistles no bells, just plain old, from the heart country. James Hand may have taken 40 years to get intot he studio but I'll bet it doesn't take another 40 for him to be back.
Drifting away to Brett Spark's dark baritone on the opening cello waltzing Linger, Let Me Linger I was transported back to the days of the old school doo wop crooners like the Ink Spots, melting in the warmth of the unbridled romanticism captured in lines like "I am the puddles in the street waiting for your falling leaves".
Recorded for their 20th wedding anniversary, it's an album of admittedly often skewed love songs, steeped in spirituality and the rich loam of nature with metaphors and images of spiders, birds, trees and foliage.
Indeed, the pedal steel keening Little Sparrows talks of schools of shining fish, swarms of buzzing bees, geese and ants with love painted as Jonah on the raging seas embracing the whale that comes to swallow him while the twangy, Johnny Cash evoking Wild Wood has them conjuring a stone age love nest of stick and bones as he declares he will "bark like a dog in your arms.
Invested with their longtime Louvin, Stanley and Everly influences, songs like When You Whispered carried in the traditional arms of banjo and pedal steel with bluegrass waltzes and mountain music slow dances, it's a marvellous testament to the couple's devotion to both each other and their musical roots. Nothing here falls short of wonder, but particularly deserving of mention has to be A Thousand Diamond Rings with its surf guitar noir mood, the Spanish classical guitar and gothic melancholy of The Winding Corn Maze more swarming bees, here and the 40s ragtime lounge whistling shuffle of The Loneliness of Magnets, an inspired image of separated lovers.
Here's to their 25th. Over the years they've been musical partners Brett and Rennie Sparks have built a reputation as one of the world's finest purveyors of melancholy Americana, their music conjuring images of dust hung desert nights and Appalachian mountains silhouetted against the evening sky as they sit round the camp fire singing songs of loss, death and damnation.
So, a surprise then to find the new album a relatively more upbeat affair, noting a world waltzing towards self-destruction but celebrating the small and infinite moments of beauty and wonder that nature provides to soothe the soul's fears.
Using such instruments as mellotron and wine glasses and drawing on the sepia tinted worlds of hillbilly, tin pan alley ballads, cowboy country, western slow waltzers and, on Beautiful William, even medieval tunes, Brett crafts the careworn honky tonk melodies upon which songs like Somewhere Else To Be, Bowling Alley Blues very George Jones and Your Great Journey are built.
Meanwhile, Rennie takes lyrical inspiration from the life of Nicola Tesla, the electrical engineer and scientist who invented alternating current transmitters but whose ambivalence to the world let him to become a recluse in his hotel room, unable to bear the touch of human skin.
However, as she notes in the waltzing Tesla's Hotel Room from where comes the album's title, one day he opened the window and befriended pigeons, finding his way back out of the darkness. It's that contact with the universal her songs explore.
Unfolding in airport lounges the throaty Neil Young-like All The Time In Airports , bowling alleys Bowling Alley Bar and graveyards White Lights , she tells stories of hunters shooting prey that transforms into their true love Hunter Green , of shoes hung over telephone wires These Golden Jewels and post apocalypse life After We Shot The Grizzly , striking emotional chords from such images as a black glove on the cliffs, broken cheap sunglasses, and 'a small bag of onion rings'.
Existential, metaphysical, whatever, the Sparks dig beneath the dry clay and turn dulled stones into diamonds. A thing of wonder indeed.
The Handsome Family - Singing Bones Loose Now suitably based in Albuquerque, Mexico, baritone Brett Sparks and his ethereal voiced lyricist wife Rennie follow up 's breakthrough death ballads collection Twilight with yet another collection of poisoned dark country melancholia that reinforces their reputation as the Johnny Cash and June Carter of contemporary Americana..
If you've not encountered them before, then try and imagine a rocky mesa at dusk, cacti and stark jutting Appalachian mountains silhouetted against the evening sky, the sound of rattlesnakes occasionally breaking the silence, dust gathering in your throat, an empty whisky bottle in your hand and the death angel sitting round a camp fire with an acoustic guitar singing of the souls that have passed this way en route to damnation.
This time round they've fleshed out the sound somewhat, pushing the boat out by adding musical saw and pedal steel to the basic mix of guitars, keyboards and drums mandolin and such regular embelishments as auto harp, bango and violin. But the landscape remains mich the same with its dark valleys, black hills, and creeping shadows a perfect backdrop to songs that explore the "veil between this world and the next" on numbers such as the whippoorwilling waltz Hour Store where the sleepless and the lost push their trollies as the crying ghosts of dead shoppers flit in and out the aisles, the cowboy dying in the desert on the clacking chugger The Song of a Hundred Toads or the farmer lowering himself down The Bottomless Hole behind the barn where dead cows, garbage and tractors seem to fall forever.
Texas Gothic at its finest, there's no better wallow in gallows humour and death balladry to be had this side of Nick Cave. This duo's fourth album In The Air was one of the listening highlights of for me, and this new one coincides handsomely with a UK tour. Husband and wife team Brett and Rennie Sparks make very strange music that's at once comforting and unsettling, smooth and caustic; it's both seriously weird and weirdly serious. Kinda like an unpardonably sweet, easy-on-the-ear gothic country, but lots more addictive than that tag might imply - try to imagine Johnny Cash singing Beefheart lyrics!
Brett's is the golden voice, and he also plays almost everything in sight, while Rennie seems to content to pen those peculiarly poetic lyrics while contributing occasional vocals and autoharp. The songs contain some exquisite imagery, which often appears inconsequential but is actually finely crafted, while musical settings are by turns mournful There Is A Sound , sinisterly jaunty All The TVs In Town and creepy Gravity , often running counter to what you'd expect from a cursory reading of the texts.
With typical oddball directness, the insert helpfully explains that "this CD was recorded at home on our Macintosh G You must experience the uniqueness of the Sparks Family's vision at least once in your life! Formerly leader of 80s Newcastle upon Tyne underachievers Hurrah!
Little short of a modern day hymn with a soaring arms-linked swaying chorus that builds to a jubilant, uplifting finale as he sings 'let now every heart rejoice', it's hard not to find the words Rufus, Wainright, Buckley and Jeff rising unbidden to the lips.
The same is true throughout the album where you might also see parallels with Martin Stephenson with whom he's collaborated on a Grant McLennan tribute , but which unfolds to reveal him as very much his own man.
Indeed, that hymnal quality is also forcefully to be heard on the no less outstanding Midwinter's Feast with its hallelujah chorus, lines about church bells and wheezing harmonium and the closing piano backed, emotion quivering Peace In Our Time as he sings "God bless our bombs and the guns we are firing, caught in the crossfire of lies we told.
Dealing in themes of love, loss uncertainty and disillusion, the album's musical textures are simple but rich. The opening piano ballad Beautiful Thing hints at Brel and Buckley equally you could also imagine hearing it on an early Scott Walker album , Darkest Night is brooding, muscular bluesy soul flecked folk, River Of Song harks to Irish trad folk swayalong while acoustic Americana warms the heart of The Slow Road and the yearningly gorgeous Whisper In Your Mind with its pedal steel and Paul Heaton colours.
There's not a weak moment here but it would be remiss not to also make special mention of Let The Lights Go Down, a spare, romantically bruised acoustic song of pleading and resignation that features shared vocals with Maria Yuriko and curls around the ears like aural aromatherapy. Hopefully it won't mirror Hurrah! Let now every heart rejoice, indeed.
This at first seems a confusing record. It's labelled as "Chinese folk revival", and, whilst it certainly emanates from Beijing, its inspiration derives comes more from Mongolian folk music. Hanggai the name describes an idealised grassland landscape of mountains, trees, rivers and blue skies is a group of young musicians, mostly from Inner Mongolia. Aiding Ilchi and his tobshuur two-stringed lute in his endeavours are horsehair-fiddle morin khuur player Hugejiltu and deep bass singer Bagen music students steeped in the traditional music , with Xu Jinhchen sanxian , Hexigtuu sihu , further assisted by producers Robin Haller and Matteo Scumaci who add electric and bass guitar, banjo and programming.
The latter hints at the nature of Hanggai's treatments of the traditional material, with authentically spare basic textures augmented by percussion, occasional western influences and natural and street sounds from the surroundings Beijing. It's little wonder that Hanggai have attracted a cult following in China amongst those seeking an antidote to Chinese boy bands! Some tracks sound true-traditional Wuji is just voice chanting against a wailing fiddle line , whereas My Banjo And I great title!
Some western-style twang guitar embellishes Five Heroes, while Flowers builds on a hypnotic, driving lute rhythm; the rather gentler melody of Haar Hu could almost be a Mongolian version of Scarborough Fair, and - most fun of all - there's even a raucous, madly accelerating Drinking Song.
Maybe it shouldn't work, you say, but it does - and I get the strong feeling that this is but the start, and that there's plenty more territory yet to be explored in this creative and genuinely exciting reinterpretation of traditional Mongolian music. What if music had smells? If CDs were impregnated with an aroma that embodied the essence of the sounds.
Motorhead would be leather, axle grease and sweat, Lucinda Williams would be the smell of tarmac intermingling with fresh cornfields, Radiohead would be antiseptic and anything from the Pop Idols stable would, of course, be a ripe processed cheese. If that were the case then playing the Dogs would fill the room with the scent of leafy English country lanes, the grass glistening with dew, raindrops from a summer shower dripping from leaves on the trees, a clean freshness in the air.
Comprising Andy Allen, formerly a jobbing member of the Pistols and Professionals, his ex-lover Joanna 'Piano' Pace, and his but not her daughter Lily Ramona, it's been four years since the South London trio emerged with their Joe Boyd overseen debut, Bareback, on his Hannibal label.
Reviews glowed for their fusion of English folk rock, celtic country and the sort of midwest American gothic embodied by Matthews Southern Comfort, underpinning lyrics of a generally downbeat mood. However a cancelled Rankins tour on which they'd been booked as support followed by label problems, took the edge off what should have been fast lane progress up the folk roots ladder.
Now they're back via a different licensing deal, still with Boyd keeping a watchful eye, and while there's times when the mix has a few too many rough edges, if the wheels turn smoothly there's no reason why this shouldn't elevate them to the hallowed ranks of artists such as the Indigo Girls, Dear Janes, the McGarrigles, Poozies, Michelle Shocked, and the early incarnation of Suzanne Vega. Evoking worthy comparisons to the likes of McTell, Thompson and Martin Taylor, Allen's nimble fretwork dances all over the album, cascading arpeggios, tumbling lullabies, meditative strums, bluegrass banjo, steel strings twanging and resonating under his fingertips.
Here and there the acoustic guitars are coloured with mournful woodwind, hand percussion, cello, dulcimer, and double bass but mostly they're left to weave their own spells, the women's voices - sometimes in harmony, more often with Piano's dust and creekwater wearied whispering tones taking lead - providing the real complementary textures. Her songs haven't exactly found the sunnier paths of life, but as the album title, Whole Way where they express the optimistic hope to ' sell a lot of records ' and even death song Little Door " I wouldn't say the world has opened up, just a little door but it's enough " hint there's at least rays of light coming through and any darker concerns are well shaded behind the generally sprightly tunes.
Spanning English trad folk flavours and appalachian mountain music Let Alone Me , it's hard to pin down prize tracks from the 12 contained here, but pushed to name favourites then the repeat play button hits on the haunting Half Smile with the two women weaving witchy, dank forest harmonies as a flute threads its way between the spaces, the resigned Women Who Love Too Much as Fred Neil meets Sandy Denny , Singers shades of Leonard Cohen and early Judy Collins and Hollywood , a dreamy tale of empty success, self-deceptions and those left behind in the road to fame on which Allen takes lead vocals, his timbre and phrasing sounding not unlike Billy Bragg.
It's a beguiling, intoxicating album, inhale and breath in deep. If you can't aurally picture that, then just think Ottawa's Lucinda Williams with a pinch of Gillian Welch and you'll have a good idea of what lies inside the CD case. Songs about busted relationships, broken dreams, temptations, growing older and the slippery search for redemption, delivered in world weary dusty tones, it's a fine collection of roots country tinged here and there with bluegrass banjo courtesy of guitarist producer David Baxter and, on opening track When Lovers Leave and the waltzing backwoods folk Three Times Bent, from Toronto's Justin Rutledge.
She gets bluesy on Rest Of My Days, lover's revenge murder ballad Mary Mary and the swampy Southern groove of Riptide and ups the tempo for the slide and banjo picking of No More Rain, but to these ears it's the gentler, wistful bruised heart ballads that are the strongest.
The undulating Here We Go Again distils the uncertainty of entering into a new romance while still picking up the pieces of the last, Just For The Ride brings a jangle and twang to a yearning for the innocence of young love unaware of the hurt ahead while the album's final three numbers, the London set Somewhere A Lovely Flower, Off This Train and, conjuring memories of Kathy Mattea, Lilacs Dancing move from the search for self and happiness to a memory of being found.
It's not a groundbreaker, but her laid-back acceptance and honest delivery will make heartbreak's twilight hours easier to bear. Seems a fair way of describing the Ottowa native's album of Americana and a soulfully warm voice that's drawn comparisons with Mary Chapin Carpenter and Gillian Welch.
With instrumentation built around acoustic guitar, dobro fine picking by Chris Barkely , pedal steel, upright bass and stripped down percussion, Hanson fluidly moves her musical moods between twangy roots country Eleven Months , rustic American folk Dance In The Evermore , bluegrass Cold Touch and country blues Willow Tree' revisiting of murder ballad Pretty Polly , all sounding equally assured whether she's standing tough or hiding vulnerability.
Love, life, mortality, religion and, on Tears In Your Rain, environmental concerns provide the subject matter and, if she's not rewriting any thematic concerns, she does find the human heart in the stories she tells. And if there's no single career making standout, the lovely sadness of Seeking Juliet and More Of The Same and a gravel gritty Nazareth Bound will certainly ensure her name gets mentioned in the right places.
Out of Ottawa sporting comparisons to Gillian Welch and Mary Chapin Carpenter, Hanson recently picked up a Canadian Blues award for River By My Side which she didn't actually write but while the blues also puts in appearance on the commitment-fearing Little Stage Fright it's her Americana and Texas soul-country moods that really flavour this debut album.
Recorded with unfussy production and unshowy playing that gives it a live feel, her songs are a mix of well observed snapshots and seemingly more personal reflections on relationships that have slipped or are slipping away, ranging from the aching Different Story where a couple meet at a barroom to sign the divorce papers and the lost dreams detailed with a finely observant eye on the twangy title track to the regrets of the backwoods country-folk Fell Down A Wishing Well one of several featuring Lynn Miles on backing vocals and the comfort and healing to the lilting, pedal steel laced Just A Day Away.
Fine though it is, I'm not convinced that the album really needs her cover of the traditional gospel folk tune Wayfaring Stranger, a song that may have a thematic connection of sorts but feels as though it's strayed in from a live set list. That said, the fact that a song that's weathered the years as well as it has can be overshadowed by Hanson's own material, says as much for her songwriting credentials as the album does for her singing. Even so, as a talented Gothenburg-born multi-instrumentalist and prog-rock genius, Bo is certainly best remembered today for his first solo release, Music Inspired By Lord Of The Rings , which the Famous Charisma Label took high into the album charts back in That album was reissued last year by Virgin, and now it's the turn of the three remaining solo albums which originally appeared on Charisma in the UK to appear in digitally remastered new editions.
Watership Down' s bonus track is an eleven-minute live-in-the-studio Migration Suite. Sadly, and unusually for such reissues, the booklet notes don't give us any information regarding the sources of the bonus material.
The downside of this is that some of Bo's musical ideas and themes don't quite achieve the memorability quotient that they need to stand out in a competitive prog marketplace, and whilst one can admire his versatility and creativity some of the later music, particularly on Watership Down , has a tendency to ramble and in the end leaves me a touch cold.
The Watership Down album continued to explore the wave of inspiration that had begun with Attic Thoughts' Rabbit Music, and Bo utilised his musical collaborators to good effect, but in truth it was a more uneven effort musically, and by the time of its release distinctly unfashionable.
But these reissues at least give us the chance to reassess Bo's place in prog history, and I find that I can certainly appreciate them a lot more now than I did at the time of their original release. From Cork and now based in Glasgow, Hara's very much in the tradition of the classic acoustic singer-songwriter, a deft string picker, a voice with a slight emotional crack and songs that slide down easy but also hang around to get you pondering their relationships themed lyrics.
It's not about to make him the next darling of the modern folkie set, but numbers like the circling melody of Bribe, the fresh open fields air to Nothing New, What Will Lie In Wait where he actually conjures thoughts of Ian Matthews and the clear stream waterfall colours sparkling across Blue Heart of Mine and The Light will always ensure a welcome on the folk club and pub circuit.
Coming together as a three piece house band for a regular event at St Pauls Church in Derby and gradually evolving into their current sextet format, they've largely spent their career to date on the Christian music circuit, releasing debut album Leaving Safe Anchorage last year. However, given the exposure, their sophomore should easily see them expanding their audience into the contemporary folk-rock mainstream.
Fronted by the striking, dust and silk vocals of Bethan Court, obvious comparisons would have to include Fleetwood Mac, Kate Rusby, and Sandy Denny but you might also hear hints of Judy Collins and Eva Cassidy in there too. Listening to her on the gently rippling autumnal Another Rainbow or the world weary Sweet Hand of Mercy is a bit like bathing in aural Radox, the soothing sound of late summer evenings and fireflies.
The band's other prime strength lies in the songs of Phil Baggaley, sometimes quietly melancholic at others shimmering with a sense of joy and determination; wistfully veined with themes of loss and stalled emotions on Watching It Slip Away, Mayday and the wonderful waltzing title track or celebrating the redemptive nature of love on the tumbling folk pop of Five Senses and the simple wonder of the universe in Stargazing.
There's times when he calls to mind Julie Gold. Having said that, two numbers hark to traditional English folk ballad. The Storm Gate is tale of a Whitby boy sailing with Captain Cook while his intended waits at home, verses sung by both the lovers and the lad's sister.
The suicide theory was advanced and it is the general opinion that this is the case. Santee, acting as coroner for Dr. Moore, who is out of town, seems to think that the boy committed suicide.
Late Wednesday afternoon there were several state policeman and residents of Schuylkill Haven searching for the body of Miss Hepler. Besides his parents, Mengle leaves to survive him two sisters, Mary and Eva, wife of Evan Steinbrunn.
It is believed to be the body of Miss Helen Hepler, the fourteen year old girl whose whereabouts have been unknown since January 2. Her father was notified by Coroner Moore about He was unable to positively identify the remains although he knew she wore a blue dress similar to the shreds of the one found on her and in the river. The buttons on the dress were practically the same he said and he agreed that she wore a locket, bracelet and ring similar to those found on the girl in the river, yet he would not positively say that it was his daughter.
The mother was sent for at 2: Coroner Moore says that it is beyond doubt the Hepler girl and the state police are of the opinion that it is the girl being sought since January. The condition of the body and being minus the head made identification hard and the father and people who knew Helen Hepler said it looked nothing like her body. The father said that if it is his daughter, it bears out the statement made by him several weeks ago when he asserted that a train struck both his daughter and Clayton Mengle, the boy with whom she disappeared.
In order to make identification a trifle easier, the blue shreds of a skirt found on her were washed by the authorities on Monday afternoon before the mother was brought to identify the body. An investigation is being made and an inquest will likely follow. It will be remembered that Miss Hepler and Clayton Mengle of Schuylkill Haven, who was her sweetheart, disappeared at the same time, the evening of January 2, and nothing was heard of either of them until April 4th, when a boy named Noecker found the body of Mengle in the Schuylkill River just below the covered bridge, at the point where the Bast boys fell in and were drowned some years ago.
Up to this time the state police and authorities all over the state had been looking for the pair and had run down more then thirty clues all of which failed to give the police any information as to their whereabouts. It was rumored in Cressona that the girl had been seen by a policeman in Easton and later in Allentown and after this pictures of the pair were sent state wide in an effort to land them. Shortly after the funding of the body of young Mengle, a note was found in the Schuylkill River near Reading which read as follows, "We are tired of life and have ended our miseries together.
You will find both our bodies in the river. The boys that found it turned it over to the police in Reading and the state police in town were notified. They at once started an investigation after securing samples of the writing of both Miss Hepler and Mengel, and finally concluded that the writing was neither that of Miss Hepler nor Mengle, although both their names were signed.
The case then was just as deep as ever and the police started to work over some facts that had been brought out at the inquest conducted by Coroner Moore on the evening of April 11th. It was shown at the inquest that the Mengel boy, who was twenty one years of age, and pretty Miss Hepler, who had just passed her nineteenth birthday, were to meet in front of the hose house in Cressona, friends of the two having testified to this statement.
The girl was seen to leave her girlfriends in Cressona and walk towards the Cressona road where she would reach the hose house, and likewise Mengel broke away from his chums and went to meet her. That was the last seen of either of them alive and since that time the authorities have had nothing on which to base any foundation and have been searching for the young lady, the finding of Mengle's body coming as a surprise to them.
A hat belonging to the Hepler girl was found in the bushes near the railroad at Connor's Crossing and this together with other information regarding the pair, resulting in the decision of the girl's father that the two had been hit by a train and driven into the river. A railroad crew several weeks ago also remarked that they felt they had struck someone but were never able to give out any definite information. The body of the girl found in the Schuylkill River near the washery at Landingville on Monday afternoon, was identified as that of Helen Hepler and the remains were claimed on Monday night by her parents and were taken from the almshouse to the Hepler home, from where the funeral was held on Tuesday afternoon.
The identification was made through a locket which was found on her neck. McLarren of Cressona, a merchant, sold it to Helen Hepler a week before she went away, identifying it as the same one that he sold her.
It had a diamond chip on the top and a large stone setting in the middle, being of an odd figure and easy to identify. When the father saw the body he said it was not the body of his daughter and with the head not visible he was unable to identify it. He could not identify the bracelet, rings or locket as the property of his daughter although he knew she had some similar to those found on the body. He refused to claim the body and Coroner Moore sent the remains to the almshouse, from where it was taken after the father and mother were shown that the daughter had purchased this locket the week before she and Mengle left Cressona, from McLarren.
The blue coat, blue skirt and red sweater were not identified by the parents although this description was given by them and other witnesses at the inquest and when the report of their disappearance was made. Coroner Moore stated on Wednesday that he would not conduct an inquest, that he was satisfied that nothing more could be learned then was brought out at the Mengle inquest. He says that in his opinion the girl and Mengel were struck by a train while on the bridge near Schuylkill Haven and that their bodies were both knocked in the river.
Upon investigation of the body Coroner Moore found that the girl's right arm was broken and that the right arm of Mengle was broken, so that is plausible that the pair were struck by the train. There are many who consider the case a deep mystery and can not understand how the pair were struck by a train and the crew did not ever learn of it or feel the jar.
One crew a short time after the pair disappeared said they felt sure they struck some object and when they alighted from their train and went back to investigate, they were unable to find a trace of anyone. The modern Post Office building recently completed by the government contractors was formally dedicated to the use of the Postal service business.
At eleven o'clock a delegation of local businessmen and others headed by Mayor Roy A. Scott, journeyed to Pottsville where they met visiting officials. At Saint John's Reformed church a luncheon was served after which headed by the local band the procession marched to the post office building at the corner of Main and saint John Streets.
Eilenberger, third assistant postmaster delivered the dedicatory address. Congressman James Gildea had been designated by the Postal Department to have charge of the afternoon meeting and the entire program was prescribed by the Department at Washington.
In addition to Postmaster J. Harry Brownmiller, who accepted the building, quite a number of postmasters from this section were present. Prior to the afternoon exercises the visitors were entertained briefly at the home of earl Stoyer on east main street and following it a formal reception was given at the extensive estate of D.
This evening at six o'clock, the days program will close with a banquet at Saint John's reformed church which will be attended by more than people. Scott, who is chairman of the borough general committee will have charge of this event. He will formally welcome the guests and introduce Attorney V.
Dalton who will act as toastmaster. The preliminary survey was done in August and in March the contract was awarded to Oscar Weinstine of Wilkes Barre. In August , the work of razing the old Hotel Grand property was started and in September the actual work of construction was started.
Mild weather was extremely favorable to the work but the snows of the severe winter delayed the work. However the work was completed on time and June 1st was occupied by Postmaster J. Harry Brownmiller and his force of employees. The building is of colonial design, one story with a roomy basement.
It is modern in every particular, is centrally located and is indeed a welcome addition to the borough. In the first postmaster was named for Schuylkill Haven. Up to that time the residents had to go to the county seat at Orwigsburg for their mail, brought up the Schuylkill Valley by stagecoach. In , letter carrier service was instituted and later parcel post delivery was included in their work.
A horse and wagon was hired for use of one of the men, as it was found impossible to deliver by hand with the increase in size and weight of parcels accepted. Later a motor truck was purchased by the government for this work.
The local office is well managed and enjoys a high rating of efficiency. A petition is being circulated for subscriptions to cover the expense of constructing a substantial foot bridge between Berne Street and lower Main Street.
It is proposed to construct at least a six foot wide bridge. The approach on the west side of the bridge being at a vacant lot on Berne Street directly opposite to the back road to Cressona and between the properties of Daniel Phillips and William Luckenbill. The east side approach to the bridge will be about feet below the Roller Rink.
The distance across the river at this point will be feet. The bridge is to be of wooden construction on concrete piers. Phillips and Luckenbill, the owners of the vacant lot on the west side of the river have agreed to give sufficient ground for the approach to the bridge off of Berne Street.
An effort will be made to have the Reading Company grant permission to build an approach on the east side on their property. The petition was circulated for the first time Monday and we are informed that several hundred dollars has already been subscribed for the project.
Businessmen and public spirited citizens will be asked to contribute and in this way the amount necessary can easily be secured. It is also proposed to hold a festival in the near future to assist in securing the necessary funds. If at all possible it is the intention of the Berne Street residents to have the bridge built this year and from the general and liberal response already given them it is quite possible that this may be accomplished.
The Highway Committee recommended that traffic signals be purchased of the Attica Company at their bid recently submitted. The plans call for the placing of a traffic light at the corner of Columbia and Berne Streets. It will be a four way three light system and will be of a pedestal type mounted upon a circular concrete and cast iron base.
The base of the light will be illuminated with a white light. The base will be about the same size as the base of the present beacon light which it will replace. The second light will be placed at the corner of Dock Street and Centre Avenue, and will be a three way three light system. This will be of a suspension mast arm type mounted upon a circular concrete and iron base and will occupy the same space and position as the present beacon light which it will replace.
Upon the concrete base will be a master pole of steel and from this steel arm will extend an arm from which the signal light will be extended. With the purchase of the two traffic lights the borough will have on its hands two traffic beacons and the question arose following the adjournment of the meeting, what disposition was to be made of the two beacons. Some councilmen favored their being placed at dangerous street intersections.
Others favored their sale as their use will mean a continual expenditure for the gas which they consume. The Highway Department also recommended that A. Saylor of Schuylkill Haven, be awarded the contract for the placing of the large sewer in the south end of the Parkway.
It is the B. On its site will be erected a concrete service station. The landmark was for many years a hostelry as hotels were termed in the early days.
The first keeper or proprietor was Michael Freehafer, who opened it for business about or at which time the first road between Sunbury and Reading was built. The laborers who worked on this road often stayed here and for board at the hostelry they paid eight dollars per month.
The road at this point followed a straight line north. The curves now in the road were made necessary when the Pennsylvania Railroad came through the town. Another early proprietor was Daniel Stager who also was postmaster, which post office was located in the same building. William Gensemer then opened a saddler shop in the place and in B. Gehrig moved into the building. As was expected the place was of extra strong timbers and built in an unusual manner.
Upon the foundation were placed heavy fourteen by twelve inch solid oak stringers. Extending crosswise, between the joists were placed boards and upon these narrow pieces of boards was filled in clay or plastering to the top of the joist, so that the space between the joists was entirely gilled in solid.
Upon the joist on the first floor was fist put down an oak floor and upon this was a yellow pine floor. This construction was found in the room evidently used as the bar room. The walls of the building were planked and then plastered. The house was forty by forty feet and three stories high. Contractor Fisher purchased the building and is finding extra fine timber in it which will be used for other building purposes. The contract for the construction of the service station will be let shortly.
Clarence Moser of Main Street. The discovery of the boys clothes made by companions led to the fear that the lad had drowned. His parents were summoned and upon their arrival immediately recognized the garments. Other boys in the meantime had gathered in answer to the alarm spread and identified different articles of property that they occasionally made use of such as a comb, key ring, etc. Efforts were made at once to locate the body and a dozen or more young men continued diving into the reservoir but without any success.
Almost frantic with grief, the father and other relatives and friends urged haste that if perchance the body was discovered, there might be efforts made to resuscitate the boy. The water in the reservoir was between nine and ten feet deep.
It was very cold, covered with grease and oil and not any of the swimmers could remain under water for any length of time. Finally the company authorities were appealed to and they ordered the water from the reservoir drawn off immediately.
In the meantime Messrs. John and Mike Starr, by means of a plank and a rake, located the body about fifteen feet from the side of the reservoir and near the wire which was used by boys to get into the dam.
A young man by the name of Bensinger succeeded in bringing the body to the surface where it was taken in charge of by undertaker D. Bittle and brought to the home of the grief stricken parents. The boy was popular with a host of friends, not only companions and children of his own age, but of adults as well. He was a bright and very active lad and won the admiration of his elders in many ways.
He was an unusually bright scholar, a pupil of the seventh grade school taught by Miss Reinhart. He delighted in playing baseball and had developed a remarkable pitching arm as it were. He was capable of pitching ball accurately equally as well with the left as with the right arm.
He possessed a wonderful memory and could recite in a pleasing way many readings of considerable length. The lad had also taken up the study of the violin and was making excellent progress on this difficult instrument.
Just shortly before leaving home on the fateful afternoon he had finished his daily practice on the instrument. The public was concerned as to why the boy sought such a secluded and rather unattractive swimming hole and without companions. It is learned that he had expressed his intention of learning to swim and surprise his boy friends when they began taunting him about his not being capable of swimming.
It is believed that with this intention he had visited the reservoir and after getting into the water found it entirely too deep, went to the bottom and because of the peculiar construction of the reservoir could not get out again, although he most certainly must have made every effort to do so.
His sudden death not only broke the hearts of the parents and relatives but saddened everyone in the community who had been acquainted with him. Besides the parents, a sister Rose survives. This article relates the events of the Tumbling Run flood of From Joseph Paxson of Oaklette Virginia, who at one time was a resident of this town, was received the following interesting article regarding the destruction of the bridge which the old structure now being removed, supplanted.
Paxson does not give any exact date of the building of the bridge, but it evidently was during the year or His article is as follows: Some time in the summer of while my father, mother, five brothers and myself were living on the Edenbower farm situated on top of the Schuylkill Mountain having moved there on April 1st, from Philadelphia , we had a heavy continued fall of rain and one morning we could hear the roaring of angry waters and we rushed to the edge of the mountain top and witnessed the great waters of the Tumbling Run dam sweeping nearly everything before it in the lowlands along the banks of the river.
Our view was unobstructed, as at that time there was no growing timber on the mountainside, it having been cut off by Levan and Kaufman to be used in the wood burning locomotives, in sole use at that time. We could see wrecked buildings, canal boats, bridges and trees, horses and cattle floating. We could also see occupants of houses on the Dutch Flat waving distress signals from the second story windows and see men in small boats rowing around and rescuing families from houses that were still standing.
It could not stand the great pressure of canal boats, wrecked buildings and other debris. The loss of life was small but the loss of property was very great. Many homes having been swept away, the canal for miles torn to pieces, the Pottsville turnpike, which was then a toll road was also torn to pieces and was not passable for many months.
We were completely cut off from wagon travel to stores and Post Office but fortunately the railroad bridge which was stronger, stood the test and we could use that for foot passing. My older brothers, Isaac and Edward, were in the habit of attending the Pottsville market with the produce of our farm.
If either one of them were living now they could help me make this more interesting, as they were obliged to seek a new route to Pottsville. The Pottsville and Cressona road was built or constructed a number of years afterward.
Some time elapsed before a ford of the river was cleaned of big rock and stones, some one hundred yards or so south of the bridge.
At that time there was no coal or culm in the bed of the river. The County Commissioners decided to erect another covered bridge at the same place, but with heavier timber and bulkheads. My father agreed to sell them heavy stones for the bulkheads at a very low figure, they to do the quarrying an hauling, and they were quarried from the east end of the quarry, which lies south of what we always called the Old Field.
One prize we found was a hive loaded with the best of honey, the bees having left or drowned, so our table was supplied with good honey for a long time. A canal boat lodged there was afterward floated. These two articles tell of the new Columbia Street bridge being built It is understood the County Commissioners have under consideration the replacing of a number of bridges in the county this summer.
The Schuylkill River bridge in this town is one that is on the list to make way for a more modern concrete structure. The new bridge is to be of concrete and on the same style and design as the concrete bridge in Pine Grove completed about a year or two years ago.
It is known that the present structure is an ever present expense to the county as it is constantly in need of repairs.
Being built on the old style design and of wood, repairs by reason of the heavy traffic that daily passes over it, it is not a source of constant expense but is dangerous and impracticable. Many collisions have been narrowly averted. When a heavily loaded truck passes over it, it does a regular accentuated quivering stunt. From the rumors afloat it is evident the County Commissioners are aware of this fact and have also realized the need for a bridge that is more safe and more adequate to accommodate the traffic.
A new bridge at this point will certainly be welcomed by the borough and it is more then likely that the council will be glad to place on the new structure the proper illumination. With a new bridge at this point, with the contemplated elimination of the large bridge at the Bittle Dam this coming summer and the putting down of pavements in this section, the erection of a number of houses, and the continued improvement to the section along the river front by the building of bungalows, the South Ward certainly will in a short time show a marked improvement in appearance and come into its former position of being the beauty spot of town.
In its place will be built a two span reinforced concrete arch bridge. Each span will be sixty six feet in length. The plans call for a thirty foot roadway with a five foot sidewalk on the north side of the bridge. Efforts however are being made by Columbia and Berne Street residents to have two footways built on the bridge.
A petition was last week circulated and signed by, it is said, every resident or taxpayer, excepting one, who refused to sign feeling that the building of another sidewalk on the bridge would increase local taxation. The petition was presented to the County Commissioners. Just what disposition will be made of the same could not be learned at this writing. The present width of the roadway over the bridge is eighteen feet.
It is felt that another five foot walk could easily be built on the new structure without interfering with traffic. There are to be four electroliers with five light clusters placed on the same for illumination at night. There is to be a solid railing along both sides of the bridge with bush hammered panels. The roadway is to be separated from the sidewalks by a six inch concrete curbing. The bridge is to be finished in working days. The Superintendent expects to complete the bridge in working days.
During the building operation the present bridge which will be moved further up the river will be used as a temporary structure. The foundations for the new bridge will be of concrete and stone and will set upon a bedrock foundation in the river.
In order to accomplish this the pumps on the Sirrocco washery will be used in the excavating. Large coffer dams will of course first have to be constructed before it will be possible to begin work on the foundation. It is for a community picnic or community day out. Remember what a big day and time Schuylkill Haven had at Adamsdale Park several years ago.
Everybody present had a great and grand time. Almost everybody in Schuylkill Haven spent at least several hours at the park and joined in the festivities and merry making.
Those in attendance were not only from Schuylkill Haven, but many were from the surrounding towns. And do you remember how the day was favorably talked about and thought of for many, many weeks? Do you believe the event had a tendency to promote a communal social spirit which was beneficial and helpful in giving Schuylkill Haven an impetus for better and bigger things? Yes, you say, and in the same sentence you add that the total cost or expense was but of a minimum and never before was so much enjoyment and pleasure at a general outing or picnic procured as on the particular occasion referred to.
If Schuylkill Haven could hold a successful day out years ago, why cannot something of a similar nature be held in ? There is no question about it being possible to do so. It is realized that community affairs of this kind, where the public is brought together for a days outing, fun, and real merry making, makes for a better, livelier, stronger and healthier town. It prevents the town and the public spirit from growing dead.
Every businessman will join in to make a day out a success. Every manufacturer will assist and will be glad to give the employees a day off. Altogether the idea appeals and will appeal to everyone. The persons who have already spoken of the matter are enthusiastic over it. All that is necessary is to get the ball rolling and if the weatherman can be bribed so as to send the proper quality of weather, the success of the big day out several years ago can and will be duplicated.
The educational and welfare committee of the Industrial Association, we believe, would be the proper committee to proceed with the matter and stir it up. A number of citizens will be too glad to lend assistance and take an active part and share the burden of a large amount of labor necessary for an event of this kind. The public will surely take an immediate active interest in the project and lend every aid necessary.
What do you think? The accident was unavoidable and occurred as Mr. Becker was driving up High Street during the morning recess hour.
It is understood children were on both sides of the street. One group of pupils had been playing with or jumping rope in the street. As the machine happened along, one of the children dropped the end of the rope so the machine could pass.
He was struck by the machine and the wheels, from an examination of the body, evidently passed over him. Becker immediately picked up the child and rushed him to the office of a physician who was not in his office. He was then rushed to the office of Dr. Heim who made a careful examination and had him taken to his home.
The child was unconscious when picked up and remained in that condition until death. Convulsions followed shortly after the accident.
A hasty examination did not disclose any fracture of the skull. Monday afternoon the child was admitted to the Milliken Hospital where an x-ray showed a concussion of the brain. A more careful examination showed the lungs and liver of the child to have been badly crushed.
There were few body lacerations. Besides the parents, one brother Samuel survives. Becker, the driver of the car, deeply feels the sorrow of the fatal accident, and it is understood the parents have exonerated him from all blame in the matter.
The little fellow was about to cross the street from the Umbenhauer store where he had gone for a cone of ice cream. The store is but one hundred and fifty feet from his home. The driver of the automobile that struck the child extinguished the lights on the car and drove rapidly away. An eyewitness to the accident, Attorney Vincent Dalton, quickly summoned the neighbors and the child was picked up by the frantic mother and carried into the home. Detweiler was summoned and gave first aid.
The child was unconscious and remained in that state until death. An examination at the hospital, to which institution he was removed Sunday morning, revealed a compound fracture of the skull and all hopes of his recovery were given up. It is understood, at this writing, clues being followed may lead to the arrest of the driver of the machine, a Ford runabout with a small truck body, before the week ends.
The machine went north on Columbia Street. The funeral of the boy took place Wednesday afternoon. Smoll conducted the services and C. Wagner was the funeral director.
Beside the parents, four sisters and one brother survive, namely, Mrs. And just by the way, I understand that council proposes to run the station with an engineer and a boy to act as fireman. The employees were very reticent when any questions were put to them, but after remaining for some time I came to the conclusion that two men experienced in machinery and firing would be necessary to run the station successfully.
While there, they were compelled to shut down one engine on account of the packing in the cylinder having become loose. On several occasions I have heard it remarked by several citizens that the town was frequently without light, owing to the inexperienced persons employed at the station.
Not to flatter these men, but I believe they understood their business thoroughly and if our citizens would go to the station when the plant is in operation, they would be convinced that the blame cannot be placed on the employees. Upon inquiry, I learned that they are compelled to hunt up the members of the light committee to order their supplies. Some times the committee evidently fails to order them in time, coal, oil, etc, for instance and consequently the town is in darkness until the supplies arrive.
As council has elected a superintendent, all this could be avoided by giving that person the authority to order and place the station in his hands instead of the committee, who know nothing whatever about machinery. Council is continually experimenting with coal, which is used for steam purposes.
The citizens often wonder why it is that they have a poor light some nights. As the secret of successful electric lighting may be placed in keeping up regular steam, and as so many changes are made in the fuel by council, you will readily see that it is impossible for the fireman to know the nature of the coal and successfully keep up the required amount of steam. I also noticed the absence of rubber matting at the dynamos, which are used as nonconductors and can always be seen in use at other stations.
The station should also be supplied with a blower to keep up the fires, and the boilers should be cleaned out occasionally, which council refuses to do. Dirty boilers often cause explosions. Another defect, and a most dangerous one I noticed, was the tremendous shaking of the building while the engines were working.
I was informed that the foundations on which the engines are placed are not large enough. I think if council does not remedy this defect, our citizens should take the matter in hand before some fatal accident occurs. Anyone visiting the station will readily see the defects and the great danger the employees are placed in. We give this to the public, in order that they may know the true state of affairs at the station.
And, as council is failing in its duties, that the citizens may take the matter in hand. The trucks of the Headquarters Battery, with the Army truck and a Bittle and Confehr truck were held in readiness all night and when the wall broke families were removed to safety. The water rose to such heights on James and Penn Streets that a boat had to be used to bring the residents to safety when the water rushed into the homes and flooded the first two stories.
This section of the town is very low and has no protection against the river. Two residents refused to leave their homes and at nine o'clock the water around them was three feet deep. There was considerable damage to cellars and stocks of knitting mills and shoe factories were damaged; the Schuylkill haven Paper Box Company building was surrounded but the water did not quite reach the floor level.
All the woodwork on the bridge to the ball grounds was washed away and the river broke through the dike and flooded the diamond. The creek along Long Run Road overflowed the road into Schuylkill Mountain and all washeries along the Schuylkill were abandoned and several boats carried away.
It is a well known fact that those saloon keepers sell on Sunday as well as on weekdays. All you have to do is go in the back way and you will get all the drink that you wish or desire. This does not apply to all, but only to certain individuals. Let them take warning and stop this Sunday selling, for if they do not, their licenses will be broken. How can any man or woman who goes before the bar of justice and takes an oath that they will not sell drink on Sunday, allow it to be sold in their houses.
If he is a man or a father of a family who sells drink, he conceals himself in this manner, he will not sell, but his wife or any other member of the family can sell all they have call for. In this manner does a woman act. She takes an oath that she will not sell on Sunday, but her children or her relatives can sell all they have trade for.
Such is the way in which saloon keepers trifle with justice in certain wards in Schuylkill Haven. Let this be the last warning for those persons, for the first one of them that is hereafter found out to sell on Sunday, either in the house or to have it carried out of the house, their license will be broken.
Let them dare not sell drink to minors at any time. The same thing can be applied to those who are living on the border of this borough.
Let them beware; there is one watching them. During this time frame, the Call had an editorial section called, "The Chatterbox". This particular item deals with the timeless issue of loitering youth'. Many of them are from our best homes. The fathers of these young men, many of them at least are numbered among our best citizens.
If their sow or their horse or even their favorite dog was away from home after dark they would be out on a search, but their own children can roam the town all night with apparently no effort being made to find them. The boy seems to be turned loose at a tender age to wander at will into the paths of sin and vice and then we wonder where all our tramps and worthless specimens of humanity come from. It is a regrettable fact that too many of them come from seed germinated in good homes and then sown in a careless manner upon our streets and back alleys.
Reader, is your boy wasting his time upon our streets? If so had you not at least look after him as carefully at nightfall as you would your horse and cow. We do not intimate that this evil exists to a greater extent in this community than in our sister towns but the evil seems universal and increases in magnitude as the years roll by.
As he fell, he struck a number of beams and when the body reached the ground, blood was oozing from a number of injuries. He was picked up by fellow workmen and rushed to the hospital nearby and everything possible was done for him.
His skull was fractured, a number of bones broken and his body badly lacerated. He died at 5: Several days prior to the accident, he was struck by a heavy piece of metal and suffered a deep gash on his head which required eight stitches.
Guy Baker, of town, was standing near the unfortunate man when he fell. McFadden resided in Allentown. He is survived by the widow and four children. He was employed on the construction of the new County Insane Building and was wheeling a barrow of mortar on two planks across the iron girders of the second story. The wheel of the barrow slipped between the planks and threw him to the basement of the building, a distance of thirty feet.
In falling he struck the iron girders with his head and fell into a ditch, striking with a sickening thud a large pipe in the ditch.
The wheelbarrow with its heavy load of mortar crashed on top of him. He sustained a crushed skull and a number of internal injuries. Fellow workmen rushed to the scene and tenderly carried him to the County Hospital nearby. Gillette, the County Hospital physician, upon examination, saw at once that he could not survive. He died at 4: Both the boys father and mother are prostrated over the sudden death of the oldest of their children. The body was removed to the sorrow stricken home, from whence the funeral will be held Sunday afternoon.
The boy had been employed on this work for several weeks but Thursday was the first day he was put at work on the second story. He had previously been employed at the Walkin Shoe Factory and as barber for J.
He was well known and liked by all. The news of the accident was a shock to his many friends. The family has the sympathy of the community. During construction of what is now known as "The Building" at Rest Haven, two tragic deaths occurred. It has been said the building is haunted. Perhaps these two poor souls still walk the halls. The program of exercises were of a simple yet interesting nature. They were held in the chapel, second floor of the main building.
The room was far too small to accommodate the large audience that annoyance was caused by persons jamming their way into the room and in a short time pressing their way through the crowds again to get out.
The program as given in these columns last week then followed. It was completed and brought to a close about 4: For hours prior to the exercises, during the same and until five o'clock, the entire building was inspected by thousands of persons. The County Commissioners must be commended for the excellent arrangement and provision of the details for the handling of the visitors. Attendants were stationed in many parts of the building and directed the public through the same, explained the different portions of it, various kinds of apparatus, etc.
From all sides was heard expressions as to the wonderful building which has been erected, delightfully located, modernly equipped, conveniently and comfortably arranged in all its appointments and with a capacity to accommodate to patients. Schuylkill County sure can be proud of one thing and that is that it possesses the most uptodate and thoroughly scientific institution for the care of the insane in the state. Judge Brumm in his address struck the keynote of the entire days program when he stated the cause, in his opinion, of the present number of insane and the rapid increase of the number, throughout the country was the cigarette.
He stated that he had ascertained to his complete satisfaction that there are more weak minded boys, more imbeciles, eventually lunatics, bred in this country of ours today from the effects of the cigarette then there is from the effect of alcoholic spirits. He further stated that parents should see that their children are not permitted to use cigarettes. That during his career on the bench there has not been a single instance where he examined the fingers of boys and young men brought before him for trial that he did not find the stain on their fingers of the cigarette.
He said he hoped every man and woman would take some step to prevent the use of the cigarette and also to punish the villain guilty of selling them to their boys. Handsome souvenir booklets containing valuable information covering the new institution were given to all persons.
From the details at first obtainable the affair looked like a case of murder, but an investigation satisfied the Coroner that the child met death accidentally. The child was that of Theodore Warnisky. The father being in the county jail and the mother an inmate of the County Almshouse. While out walking Friday afternoon with its mother it became lost.
Search was made during Friday evening and all day Saturday. Saturday afternoon one of the State Police made the discovery. The manhole in which the child was found is that leading to the steam pipeline between the power plant and the Insane Building.
It is about ten feet deep and four feet square. The iron opening of the manhole is about twenty inches in diameter. A tin cup, such as is used at the institution, being used for soup, etc. It is believed it belonged to the child and the child while playing near the manhole pushed it over and it dropped into the hole. The child in looking down at the cup, lost its balance and fell into the manhole.
A post mortem examination was made by Dr. The manhole being filled with steam pipes, the temperature was between and degrees and the child was suffocated and literally roasted to death as its little body was quite brown and shriveled. A feature that led one to believe that the child met with foul play was the fact that on Monday, June 29, the child was to be taken to a state home of children and it was thought the mother instead of caring to part with it, had caused its death.
Investigation by the coroner did not bring to light any evidence that would cast suspicion on the mother. The car was in charge of Roy Eiler. It was a machine, the property of Charles Michel and was being taken to the Losch garage for repairs. The child was struck on the chest and shoulder by the guard of the machine and thrown against the fender, striking with his head. He was picked up in an unconscious condition. Eiler immediately summoned a physician.
Both Doctors Gillette and Lessig arrived. An examination showed he sustained a fractured skull. Death occurred at 5: The youngster was a pupil of the second grade school of the South ward building, taught by Miss Carrie Rehrer. He had just finished his dinner and was leaving home, walked through the yard to an alley at the rear of the house leading to Main Street.
Bystanders state he was standing on the pavement near the skating rink facing west. Just as the auto came from the east, he without warning stepped into the street.
Although it is stated the machine was going slow, the driver could not turn quick enough to avoid striking the child a sort of glancing blow. The parents, although grief stricken over the sudden death of their son, feel the accident was an unavoidable one and do not hold the driver responsible. Besides the parents, two brothers, Elmer and Clarence survive.
The deceased was in his eighth year. He would have been nine years of age on the twenty ninth of this month. He was a member of the Christ Lutheran Sunday School. The funeral will be held Sunday afternoon at the home of his parents. The accident occurred on Centre Avenue, a short distance above the home of was going north as was also a junk dealer who had an unhitched horse walking along the side of his wagon.
The auto was just about driving around the junk dealer's team when the boy on the bicycle came south. The driver stated his particular attention was called to him as he appeared to be very nervous or just learning how to ride.
As he passed the machine the driver leaned from his car to see how he was afternoon about 4: He was shocked to see his body lying in the road. The boy's front wheel evidently was Company of Pottsville. The accident occurred on Centre Avenue, a short distance above the home of Joseph Maberry. The boy was riding a bicycle and was coming south on Centre Avenue. The auto truck was dead when he was reached. The body was picked up and carried into the home of Joseph Maberry.
The wheel of the machine passed over his forehead and diagonally across his face crushing the same. There were but a few bruises on his body. Several hours were required before the identity of the young man was established. It appears the boy made his home with his uncle, a Mr. Koch, residing on Caldwell Street. He had come to Schuylkill Haven but a few days previous to his death. His home is in Auburn. One brother residing in town also survives.
The funeral will take place this afternoon at one o'clock with services at the Koch home and later in the Red Church. Bittle will be the funeral director. Reed, who is well known here, made frequent visits to town and disposed of his farm produce to residents of Berne Street. The children frequently watched for him on particular days and hung on the machine.
Reed had warned them repeatedly to discontinue their practice. On Saturday when he was about to depart from in front of the Berger home, he ordered all of them off the truck and started the engine. Just as the machine began to move he heard a woman scream and looking around saw the girl Anna, the eight year old daughter of Mr.
Warren Berger of North Berne Street, was run over and clinging to the side of the truck. He immediately stopped the car but too late as the clothing, having come in contact with the tires, the little body was drawn underneath the rear wheels.
The child was internally injured and bruised about the leg and neck. Reed has been absolved of all blame by the parents of the child. Needless to say, the Squire feels the result of the accident almost as keenly as the parents. Last year she was a pupil in Miss Raudenbush's school. Besides the parents, these brothers survive: Marlin, Donald and Arvil. The funeral was held Thursday afternoon with services at the late home by Reverend M. Many bouquets of flowers were presented by friends and playmates of the deceased as well as the Sunday School.
Bittle was the funeral director. Boussum met death as the result of being struck by an automobile driven by Walter Sheafer of Pottsville, going north on the avenue. Boussum was assisting some members of the Rainbow Hose Company to flush the debris and mud from Centre Avenue, which had been washed thereon by the heavy rains.
He was in the act of stooping down to take a kink from the fire hose when he was struck. He was dragged along the street about forty feet. When picked up, life was extinct, as the back of his head had been crushed in. His face and front of his body was bruised and bleeding as a result of having been dragged. His one leg was broken in two places. Tenderly he was carried to a nearby home and Dr.
The doctor's examination merely confirmed his death. The autoists in the Buick touring owned and also operated by a Mr. Walters of Pottsville, were returning from the country club.
It is alleged that the machine was traveling at a rapid rate. The driver continued toward Pottsville. Daniel Greenawald, who was on his way to the brick plant, witnessed the accident. Turning around and noting that the other auto continued on, he hurried after him. Harry Sterner accompanied him and on the stretch between town and Seven Stars it is said it was necessary to drive sixty five miles an hour to overtake the other machine. Greenawald passed the auto and turned his car square across the road, narrowly escaping being run down.
The blood was still noticeable on the fender of the car. The autoist was brought back to Schuylkill Haven. A hearing was immediately before Squire W. The charge preferred was manslaughter. The driver stated he thought he had struck a post or several lines of hose.
He was committed to jail without bail. The coroner's inquest will be held some time the coming week. William Boussum was a lifelong resident of the town and known to most every resident.
He was forty five years of age. He, for many years, was employed at the P. He was a member of the Moose and the Rainbow Hose Company.
In this latter organization he was one of the most indefatigable and most willing workers. Regardless of the time or place of a fire, "Kutch" Boussum, as he was more familiarly known, was among the firemen. His death cast a deep veil of sorrow over the entire section of the community in which he resided. The news of his death was on the lips of everyone Sunday.
The deceased was of a jovial disposition, always full of life and sunshine and it was this happy temperament that made and retained his innumerable circle of friends. Besides the widow, three stepchildren survive. Also two sons, Thomas of Cressona and John of Pottsville. Also one sister, Mrs. Harry Maurey of Orwigsburg. The new ladies organization to which only wives and daughters of members of the Masonic Fraternity are eligible, will be known as Schuylkill Haven Chapter Number , Order of Eastern Star.
The institution was made possible by the presence of seventeen Grand Lodge officers who came from Pittsburgh, Hazleton and Wilkes Barre. The event took place in the Keystone Hall and lasted from about one o'clock until five.
In addition to the local fifty chartered members of the order and the Grand Lodge officers, there were present members of the Eastern Star lodges from Pottsville, Minersville, Saint Clair, Tamaqua, Hazleton, Reading and Philadelphia. New paraphernalia had already been received by the local chapter and was used during the ceremonies.
Several hundred persons were present, all of whom were served refreshments following the lodge session. The Grand Lodge officers were met at the P. The new order is composed of some fifty charter members and has this same number of candidates for admittance to the lodge.
The complete list of officers installed is as follows: Gleockler; Worthy Patron, George M. Paxson; Associate Matron, Mrs. Frank Schumacher; Conductress, Mrs. John Berger; Associate Conductress, Mrs.
Frank Reider; Treasurer, Mrs. Harry Quinter; Secretary, Mrs. George Berger; Marshal, Mrs. George Long; Points of the Star, Mrs. Charles Rickson; Sentinel, Mrs. James Lengel; Warden, Mrs. It was attended by about two hundred and fifty citizens of the town who were invited by small cards handed to them personally several days before the meeting.
An address of over two hours length was delivered by the speaker of the evening. His first statements relieved the minds of many of his hearers when he remarked that the organization was not an Anti-Catholic, Anti-Negro or Anti-Jewish institution as has been charged. He explained at some length how the KKK had come to be thus charged. The speaker held the attention of the audience for almost the full two hour period by a most clear and concise explanation of the principles, aims, plans and workings of the order.
He explained why the gown and hood is worn by the members. The Ku Klux Klan, continued the speaker, has been unjustly charged with unpardonable conduct and crimes committed by unknown persons who have donned the somewhat peculiar shaped mask and gown worn by this organization.
These acts are the results of personal grievances and the mask and gown is used by these unscrupulous persons to shield and protect their identity. The KKK is unjustly blamed for many happenings of this nature. The Ku Klux Klan does not proceed in this manner. Not a hand is to be raised against or laid upon any individual in a harmful or injurious way. The speaker explained that if there is reason for improvement of conditions either of a personal or municipal and civic nature, warnings are first issued to persons concerned and if the result is not accomplished notices are then posted.
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