6000 Acres - Unreleased MP3 from 1985
6000 Acres is from the same sessions as 'Feeling So Strange' which was on C86. Which would make it either late 85 or early 86.

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Five cuts now up, ranging from really early stuff, like 6000 Acres, to an alternative take on Mess Of Paradise.

Anti-midas Touch

Unseen Ripples From a Pebble

Because it's got a bucketful of guts, a heart full of soul and a noise full of riches- Single of the Week.

'LA Juice': a flaming throb of guitars that hit previously scaled peaks by taking a different route. It hums with a fresh, stimulating vibrancy charged with a determined clamourous obstinancy that drips with unparalleled enthusiasm.

Sway to 'Another hazy day on the Lazy A': a running brook of articulate guitar interplay splashing over and under and through a sparkling crescendo of emotions burnt with wry indignation.

ANON
SOUNDS
22nd March 1986

By Paul Cannell

One of the most intensely personal songs I have ever heard

RICHEY EDWARDS
Manic street Preachers

Read the press coverage of 'Me'

Wolfhounds made just one record for September, the dark and raging 'Son Of Nothing'. Royston sleeved it in a bag that on the front overlaid a just off-focus photograph of what looked like a South American icon with a type that was edgy and off-kilter. There were also faint overprints of Mayan looking symbols, whilst on the back was the by now typically beautifully spaced type, around three cropped images, the left of which was a wonderful piece of text asking, with an appropriate tick box, 'Did you accept Jesus Christ as your own personal saviour?'
ALISTAIR FITCHETT
Tangents 1999
Link

"Son of Nothing was a screeching collision of hard electro back beats and a searing full treble guitar"
BOB STANLEY
Melody Maker

Les Wolfhounds sont le groupe le plus méconnu de la terre. Malgré des singles remarquables, hargneux et racés, le public et les médias continuent à bouder. Pourtant, à l’instar de leur précédent album-compilation, ce disque est essentiel. Une collection de moments cahotiques et maîtrisés.

Aidé par une production conservant intactes la violence et l’énergie
diffuses, l’album est âpre, dur, reflétant la colère et la frustration de
toutes ces années Thatcher. "I know my time will come", vocifèrent-ils sur Tomorrow Attacking. On aimerait en être aussi sûr qu’eux.

JEFF VON MULHOUSE
dans Les Inrockuptibles N°19
Oct./Nov. 1989

After the protracted and geographically challenging methods that were used to record 'Bright and Guilty', it was decided to try and get another album together as quickly as possible. 'Blown Away' was conceived, written and recorded in a matter of weeks. The songs were written by Callahan, leaving Golding free to work on the arrangements.

All the songs came together quickly and were worked out in the basement in Halley Road, Forest Gate. This is the only Album that the band recorded as a four piece with Golding and Callahan taking equal credit for the guitar work. Mary Hansen sings backing vocals on 'Rite of Passage' and 'Skyscrapers'. Paul Mulreany, who was in The Blue Aeroplanes, The Jazz Butcher and Primal Scream at various times, is also credited on the sleeve, but no one can remember what he did. He normally just nicked all the beer.

The album was recorded at Berry Street in London and engineered by Ian Caple who went on to work with Tindersticks and many others. Ian's method of engineering was to let the band get on with it and then sort it all out in the mix. 'Blown Away' was recorded almost entirely live, which was the first time the band had worked that way since 'Cut The Cake'. The intensity of 'Blown Away' suggests that they should have recorded all their songs that way.

NOTE: Although Alan Stirner is mentioned on the sleeve notes, he does not appear on this record.

Blown Away is a screamingly alive record.
BOB STANLEY
Melody Maker

Review published by TANGENTS :

When applied to himself, David Lance Callahan's `Anti-Midas Touch' would become strangely prophetic. One of the few writer-performers who have become harder over the years, rather than succumb to a flabby, melodic middle age, success has continually failed to materialise for this Essex Man, and though he's moved on and on musically, he remains too ascerbic a creator to reach gold or even silver disc status.

Blown Away is his finest record, although the Wolfhounds' Pink label singles, their last LP, Attitude, and Moonshake's Eva Luna, are all popular classics in their own right. It was as though he'd become unhinged with frustration at not having yet got the Bizness on its knees begging for mercy, and for pure focussed venom, `Blown Away' (the song) was unbeatable. The band enter the eye of a musical thunderstorm, effortlessly resisting any Thor and Odin metal cliches, whilst Callahan fuels the fire with his usual `the personal is the political' lyrical barbs.

As a unit, the Wolfhounds come across like a Romford Wu-Tang Clan. On `Rite of Passage', which begins with a vox-popped dumb American tying his brain in knots, drummer Stebbing punches like a world heavyweight champion, inciting Callahan to skin his knuckles on the brick wall he sees before him. Also present on songs like `Dead Sea Burning' are the first signs of the Kraut-rock influence that would be given a full work-out in Callahan's Moonshake incarnation.

If you need another reason to track down a copy of Blown Away, it will look very well at the front of a pile of records - either way round. The front is a classic map of the Antarctic, whilst the back is a recasting of the famous safety poster by Eugenio Carmi.
DANIEL WILLIAMS
Tangents Magazine
September 1996
Link

Attitude

LP/CD

Gutter Charity
Vertical Grave
Blue Nowhere
Side Effects
Celeste
Magic Triggers
Feeding Frenzy
Abstract Hopeful
Hall Of Mirrors
Disinformation
Guitarchitecture(*)
Everybody's Traveling(*)
Free Speech Impediment(*)

1990; Midnight Music
CHIME 01.07 D
CHIME 01.07 CD

Final studio album. Recorded at Berry Street Studios in Farringdon, London.

Mostly written in Forest Gate, East London. 13 tracks were needed to complete the contractual obligation with Midnight Music, so 13 tracks were recorded. Thats not to say that they were rushed. It just meant a greater freedom to experiment with different sounds without getting too precious about the results. Side Effects is the sound of Andy's 'Electric Mistress' going through a Marshall Stack with nothing else attached to it. The 'vocals' were added from a dictophone.

It was discussed as to whether to release 'Magic Triggers' as a single, but the band decided to call it a day before the idea got off the ground. The albums very dark in places, but stands up as a fitting epitaph.

Best argument of the sessions was when Sugarman decided that 'his' guitar wasn't loud enough on 'Guitarchitecture'!!

cd

Lost But Happy
L.A. Juice
Another Hazy Day On The Lazy "A"
Anti Midas Touch
Restless Spell
Son Of Nothing
Torture
Happy Shopper
Rent Act
Non Specific Song
Rite of Passage
Tropic Of Cancer
Dead Sea Burning
Blown Away
Gutter Charity
Vertical Grave
Magic Triggers

1996; Cherry Red Records
CDMRED 126

The Sleeve notes read:

"Wolfhounds at various times were: Callahan, Andrew Golding, Francis Stebbing, Dave Oliver, Paul Clark, Andrew Bolton, Matthew Deighton, Martin Stebbing, and Alan Stirrer. Also featuring contributions from: Mary Hansen, Vera Daucher, Andrew Sprinham, Joey Ramone, Kate Blackshaw and Ferlinghetti.

All tracks were recorded between Nineteen Eighty Five and Eighty Nine. Thanks for coming. Photography and design by Francis Stebbing."

The copyright is

"1985-1989 Midnight Music (Records). This compilation 1996 Cherry Red Records Ltd."

Written by Wolfhounds.

Sleeve also contains lyrics for all the tracks.