LIBERTY CAGE
''SLEEP OF THE JUST''
1994
46:26
1 Everything's Different Now 03:23
2 Fires Below 04:32
3 Throwing Stones at the Sea 02:56
4 On Her Majesty's Service 04:01
5 Swimming Against the Tide 05:05
6 One for the Road 03:55
7 Judgement Day 03:37
8 You Make My Mind Stand Still 03:53
9 Mercy of the Guards 04:00
10 Cat and Mouse Affair 02:56
11 Murder in Cell #9 03:34
12 CDC 04:28
Tracks By Dave Kent 8, 12, John Bishop, Liberty Cage 11, Neil Simmonds 3, 6, Paul Simmonds 1, 2, 4, 9, 10, 11 & Philip Odgers 5, 7
Neil Simmonds/Double Bass, Saxophone, Bass Guitar, Guitar
Paul Simmonds/16 Strings, 6 String, Mandolin
Philip Odgers/6 String, Vocals
Nick Muir/Piano, Accordion, Organ
Bobby Valentino/Violin
Dave Kent/Whistle, Harmonica, Trumpet, Vocals
John The Coat/Acoustic Guitar On 12
Julia Walters/Backing Vocals On 3
BIOGRAPHY
BY AMG
Biography
Based in Brighton, Sussex, England, Liberty Cage were formed as the career of celebrated indie/roots band Men They Couldn’t Hang stalled in 1991. From that group, songwriters Phil ‘Swill’ Odgers (vocals/guitar) and Paul Simmonds (guitar) recruited Paul’s brother Neil Simmonds (bass) and ‘just decided to go into a studio in Brighton and see what happened’. After multi-instrumentalist Dave Kent and former Tender Trap drummer Simon Lomond joined, Liberty Cage quickly established a strong reputation for their live shows - an aptitude they shared with their former incarnation. In Paul Simmonds and Odgers they similarly possessed two talented lyricists, capable of combining folky humanism with caustic political tracts. This was confirmed by the May 1994 release of Sleep Of The Just, a self-produced and financed album recorded during ‘studio down-time’. Though strong early demo material such as ‘This Side Of The Street’ had been jettisoned, new songs such as ‘Mercy Of The Guards’ and ‘Fire Below’ ably compensated. Though the songs were played with punk ferocity, the album indelibly cast Liberty Cage as a folk band, just as the Men They Couldn’t Hang had been before them. As Paul Simmonds conceded: ‘The best folk music will have something to say in 100 years when pop fads become sociologist’s footnotes and clothes to laugh at.’
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2 Fires Below 04:32
3 Throwing Stones at the Sea 02:56
4 On Her Majesty's Service 04:01
5 Swimming Against the Tide 05:05
6 One for the Road 03:55
7 Judgement Day 03:37
8 You Make My Mind Stand Still 03:53
9 Mercy of the Guards 04:00
10 Cat and Mouse Affair 02:56
11 Murder in Cell #9 03:34
12 CDC 04:28
Tracks By Dave Kent 8, 12, John Bishop, Liberty Cage 11, Neil Simmonds 3, 6, Paul Simmonds 1, 2, 4, 9, 10, 11 & Philip Odgers 5, 7
Neil Simmonds/Double Bass, Saxophone, Bass Guitar, Guitar
Paul Simmonds/16 Strings, 6 String, Mandolin
Philip Odgers/6 String, Vocals
Nick Muir/Piano, Accordion, Organ
Bobby Valentino/Violin
Dave Kent/Whistle, Harmonica, Trumpet, Vocals
John The Coat/Acoustic Guitar On 12
Julia Walters/Backing Vocals On 3
BIOGRAPHY
BY AMG
Biography
Based in Brighton, Sussex, England, Liberty Cage were formed as the career of celebrated indie/roots band Men They Couldn’t Hang stalled in 1991. From that group, songwriters Phil ‘Swill’ Odgers (vocals/guitar) and Paul Simmonds (guitar) recruited Paul’s brother Neil Simmonds (bass) and ‘just decided to go into a studio in Brighton and see what happened’. After multi-instrumentalist Dave Kent and former Tender Trap drummer Simon Lomond joined, Liberty Cage quickly established a strong reputation for their live shows - an aptitude they shared with their former incarnation. In Paul Simmonds and Odgers they similarly possessed two talented lyricists, capable of combining folky humanism with caustic political tracts. This was confirmed by the May 1994 release of Sleep Of The Just, a self-produced and financed album recorded during ‘studio down-time’. Though strong early demo material such as ‘This Side Of The Street’ had been jettisoned, new songs such as ‘Mercy Of The Guards’ and ‘Fire Below’ ably compensated. Though the songs were played with punk ferocity, the album indelibly cast Liberty Cage as a folk band, just as the Men They Couldn’t Hang had been before them. As Paul Simmonds conceded: ‘The best folk music will have something to say in 100 years when pop fads become sociologist’s footnotes and clothes to laugh at.’
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