In the fall of 1692, during the height of the witch trials in Salem, Massachusetts, a peculiar event took place. Amidst the chaos and hysteria surrounding the trials, a group of musicians were scheduled to perform a gig in the town square. This gig, which came to be known as the "Gig at the Witch Trials," was an extraordinary occurrence that captured the attention of the townspeople and gave them a temporary reprieve from the darkness that enveloped their community. The musicians, a band of talented individuals well-known for their lively melodies and infectious rhythms, had been touring the region, bringing joy and entertainment to various towns and villages. Little did they know that they would soon find themselves in the midst of one of the darkest periods in Salem's history. As the trial proceedings continued, the townspeople, burdened by fear and suspicion, sought solace in the music that was about to be performed.
As the trial proceedings continued, the townspeople, burdened by fear and suspicion, sought solace in the music that was about to be performed. They gathered in the town square, anxiously awaiting the start of the gig, hoping that the music would provide a brief respite from the darkness that had consumed their lives. The main idea of this unusual event was the power of music to bring people together and uplift their spirits in the midst of despair.
Analogue Adventures
I recently came into contact with a fellow over in England with similar musical tastes selling off his collection of records, many of which he bought in the first few days and weeks of their original release.
One of the records I eagerly snapped up was the Fall’s 1979 debut Live At the Witch Trials, released on Step Forward.
Like most records by the Fall, the lineup responsible for making it was short lived. By the time the next record, Dragnet, was released seven months later, singer/lyricist Mark E. Smith was the only one left standing.
Although Smith was one of a small group of young Mancunians inspired by the Sex Pistols’ first gig at the Lesser Free Trade Hall in 1976 (a gig organized by Howard Devoto and Pete Shelley of the Buzzcocks and attended by Bernard Sumner and Peter Hook, who went on to form Joy Division and, later, New Order, Morrisey, who went on to form the Smiths, and producer Martin Hannett, among others), he didn’t put in with the nascent punk scene in Manchester.
Live At the Witch Trials remains one of the quintessential post-punk records of the late-1970s and early-1980s, highlighted by one of my favourite songs in the prodigious Fall catalogue, “Rebellious Jukebox”.
Much to my good fortune, the lot of records I bought from this fellow were well cared for. The condition of this copy of Live At the Witch Trials is spectacular. Both the jacket and the vinyl are exquisite. Most importantly, the record sounds fantastic with nary a tic or pop and only the hint of surface noise between a few tracks.
Live At the Witch Trials was the only one of my favourite Fall records (also including Grotesque, Hex Enduction Hour, Slates, This Nation’s Saving Grace, and The Wonderful and Frightening World of the Fall) that I did not have an original U.K. pressing of.
With the original master tapes apparently long lost, I’ve been keen to find an original pressing rather than rely on a re-issue pressed from a digital source. But this is a tough record to find on this side of the Atlantic for a reasonable price.
Fortunately, my patience finally paid off.
Despite the grim circumstances, the gig at the witch trials created an atmosphere of unity and camaraderie among the townspeople, if only for a short period of time. As the band started playing, the lively tunes echoed through the square, mingling with the murmurs of the crowd. The magical combination of melody and rhythm seemed to momentarily quiet the anxiety and fear that had plagued the townspeople. They found themselves dancing and singing along, the weight of their hardships temporarily lifted. The gig at the witch trials served as a reminder that even in the darkest times, music has the power to heal, inspire, and unite. It brought a moment of joy and hope to a community deeply affected by suspicion and persecution. The musicians, unaware of the emblematic role they would play in Salem's history, left a lasting impression on the townspeople, who would forever remember the transformative power of music in the face of adversity. In conclusion, the "Gig at the Witch Trials" was a remarkable event during a harrowing period in Salem's history. It highlighted the ability of music to transcend boundaries and bring solace, even in the darkest of times. The impact of this gig resonated within the hearts of the townspeople, reminding them of the resilience and strength that can be found in unity and the power of the human spirit..
Reviews for "Breaking Down the Experimental Instrumentation on The Fall's Gig at the Witch Trials"
1. Robert - 2/5 stars - The Fall's album "Gig at the Witch Trials" left me feeling disappointed and underwhelmed. The songs lacked coherence and structure, making it difficult to follow along. The lead vocalist's grating and off-key voice didn't help either. Overall, the album felt like a sloppy and unorganized attempt at creating a unique sound. I would not recommend it to anyone looking for a more refined and cohesive musical experience.
2. Emily - 2/5 stars - "Gig at the Witch Trials" by The Fall was a complete letdown for me. The songs were all over the place, with no clear direction or purpose. It felt like a chaotic mess of noise rather than a well-crafted album. Additionally, the production quality was poor, making it difficult to fully appreciate the instrumentation. I couldn't connect with the music or the lyrics, and it left me feeling unsatisfied. This album is definitely not for everyone and it did not resonate with me at all.
3. Mark - 1/5 stars - I found "Gig at the Witch Trials" by The Fall to be an incredibly difficult listen. The vocals were grating and distorted, making it hard to understand the lyrics. The instrumentation felt disjointed and lacked any sort of melody or harmony. Furthermore, the album lacked any memorable or standout tracks. It was a cacophony of noise that left me feeling frustrated and confused. I don't understand the appeal of this album and would not recommend it to anyone seeking enjoyable music.