Unauthorised item in the bagging area
Sunday, 2 November 2014
They're Coming Out Of The Walls
Right then, enough of the balearic stuff. This is a slinky, groovy little number and no mistake- from Anima Animus, The Creatures 1999 lp. And it gives me an excuse to post this rather excellent gif of Siouxsie doing her thing. The Creatures were a side vehicle for Siouxsie and drummer Budgie, with the emphasis on, obviously enough, voice and drums and percussion. The Creatures released four albums between 1981 and 2005 and they all have something going for them. The band ended when Siouxsie and Budgie's marriage ended.
Another Planet
Saturday, 1 November 2014
Hoomba Hoomba Chant Chant
This picture appeared in the August 1990 issue of The Face in an article called A Raver's Guide To Europe. It shows Andrew Weatherall at Pacha, Ibiza, hard at work doing research for Screamadelica and Morning Dove White.
Looking at the late 80s/early 90s there's a point when Balearic (an eclectic mix of records you could dance to that all fitted in with a certain vibe) turned into piano house and then chill out, i.e. people making records with a specific sounds and feel deliberately to evoke those Balearic feelings, the tail wagging the dog maybe. Piano house and chill out both quickly became debased currencies. This record from 1990 by Voice Of Africa skirts around that fine line, with the Keep On Moving drum sample and the tinkling piano line. Very close to the line.
Hoomba Hoomba
The Voice Of Africa record is a million miles from Balearica of The Woodentops, Fini Tribe, The Residents and Nitzer Ebb (not that any of those bands knew they were making Balearica at the time). Nitzer Ebb's Join In The Chant is a much tougher animal.
Join In The Chant
Labels:
andrew weatherall,
nitzer ebb,
the face,
voice of africa
Friday, 31 October 2014
The Return Of Friday Night Is Rockabilly Night 159
Hallowe'en rockabilly special- yes, it has to be The Cramps and The Creature From The Black leather Lagoon (off 1990's top drawer Cramp-fest Stay Sick). This video is NSFW. In fact, it may not be safe for home either.
Mandy
This one's for Drew.
Mandy Smith, mainly famous for marrying the least cool Rolling Stone when she turned sixteen (and he was forty seven), had a pop career of sorts, after signing to Stock Aitken and Waterman. This song, I Just Can't Wait, smashed the UK chart, peaking at number 91. It gained a remix (the Cool Jazzy Breezy Balearic Mix) which made it popular in certain late 80s clubs and circles, especially the legendary Shoom. It was also on the compilation album Balearic Beats Volume 1. Is it a balearic classic? You can decide for yourselves. Drew loves it.
The Face picked up on Shoom and Mandy Smith's remix as this clipping from 1988 shows...
Just to show how SAW-ish the original was (and by contrast how balearic that remix actually was)...
Don't worry- we will never speak of this again.
Thursday, 30 October 2014
How Much Are They?
It's turning into a kind of interactive week at Bagging Area with reader suggestions and comments leading onto the next day's posting, in a seamless blog-segue. Or something like that. Yesterday Echorich said he needed a Balearic compilation for a drive he's undertaking across the US and went looking for a Jah Wobble, Holger Czukay and The Edge 12". I' afraid I am philosophically and morally unable to post anything involving the tax avoiding, overblown Irish rock band. And this song from Full Circle in 1982 is better anyway, featuring also some girls who turned up at the studio asking 'How much are they?'
A little bit of internet digging led to this re-working/re-edit by Utopus, which is pretty smart.
Labels:
albert camus,
holger czukay,
jah wobble,
jaki liebezeit,
utopus
Wednesday, 29 October 2014
Folky
A few years ago I had an idea that doing house music songs, especially vocal sample led ones, on an acoustic guitar could work well (if done well obviously. It could be really horrible in some peoples' hands)- Pump Up The Volume, Theme From S'Express, Cowgirl, those kind of songs.
This came my way on Monday via the social media platform of reader/internet friend Paul Bob Horrocks and it's really nicely done- a version of A Man Called Adam's Barefoot In The Head by The Balearic Folk Orchestra, using voice, acoustic guitar and strings. Reflective and just right for these days.
Tuesday, 28 October 2014
Boy, Am I Gonna Wake You Up
We drove into town on Saturday and I had a Boys Own compilation on the car stereo which opened with Bocca Juniors' summer of 1990 song Raise. They made a video which features a bunch of kids, gorgeous singer Anna Haigh and the rest of the Boys Own crew (Terry Farley in a hat, Andrew Weatherall with long hair). Very summer 1990. Although what you don't get with this three minute version is the massive Thrashing Doves piano sample...
For that, you need this (and you really do need it)...
The follow up, Substance, wasn't nearly as good unfortunately. Weatherall said what he learnt from Bocca Juniors was that you can't make records by committee. Although this record would seem to show you can do it at least once.
Monday, 27 October 2014
Bedroom Eyes
I was playing Prince Fatty's Supersize this weekend, an eleven song compilation of some of his best stuff, not very autumnal music admittedly. These two dubs are outstanding- Bedroom Eyes Dub has echo, rimshots, organ and bass.
That Very Night In Dub has the lovely voice of Hollie Cook, a sound that could grace any record.
Labels:
alcapone,
hollie cook,
natty,
nina mae mckinney,
prince fatty
Sunday, 26 October 2014
How Did It Feel When The Clocks Went Back?
Is just one of the lines in this Baxter Dury song, Pleasure, off his new album. It's a belting little tune, with a nagging 80s electro pop melody and some motorik backing and Baxter's hard won wisdom.
The answer is 'shit' of course. It's always shit when the clocks go back.
Saturday, 25 October 2014
Keeping It Peel
Today is the tenth anniversary of the death of John Peel. Webbie (from Football and Music) organises this internet event annually, paying tribute to Peel and his life and the music he loved. This track isn't from an actual Peel Session but it has John introducing the song on the radio,a bit of waffle in those familiar tones, and then Sheet Taft (Glasgow based, Creation Records, post-acid house outfit) and the long, languid, dubby and somewhat trippy Kali.
Kali
Labels:
Creation Records,
john peel,
keeping it peel,
Sheer Taft
Needle In A Haystack
Today is Mrs Swiss' birthday- Happy Birthday L. She wasn't so keen at first about posing for this shot but we got there in the end.
Her favourite song of all time is The Velvelettes 1964 single Needle In A Haystack, guaranteed to make her dance at almost any social occasion. But I've posted it before so I thought I'd do the same song but by Australian beat combo The Twilights.
Friday, 24 October 2014
The Return Of Friday Night Is Rockabilly Night 158
Here's a bucket full of rockabilly, a hour and a quarter of songs opening with the incomparable Wayne Walker and working it's way through thirty-six more to get to Al Rex and his Hydrogen Bomb, while Hot Rod Rumble plays behind it. Everyone's a winner.
It's been a long week, pass the wine.
Lemon Drops
Wolverhampton's Mighty Lemon Drops were almost the archetypal mid-to-late 80s, post-punk/indie group, all dressed in black with Rickenbackers, and found within the inky pages of the NME. Look at the picture- nothing could be more post-Smiths but pre-acid house. They owed a debt to the sound of Echo And the Bunnymen, from the spikey psychedelic guitars to the tom-toms and the voice of Paul Marsh. This was their first single, released for Dan Treacy's Dreamworld label. Close your eyes and it's 1986 again.
Like An Angel
Thursday, 23 October 2014
My Dream Last Night
Nobody really wants to hear about my dream last night- it wasn't even that interesting. John Holt, one of the golden voices of 60s/70s roots reggae died this week aged 69. His dream was about Ali Baba and his forty thieves. The voice, the riddim, the horns- all perfect on this one.
Wednesday, 22 October 2014
Found
Wasting time on social media recently I followed a link to the video for Hello by The Beloved- you know the one, funky drummer drums, crunchy guitar and a slightly silly, wide-eyed list of people to say hello to including Peter, Paul, Tommy Cannon, Bobby Ball, Little Richard, Willy Wonka, William Tell, Salman Rushdie, Kym Mazelle, Mork and Mindy, Barry Humphries, Billy Corkhill, Fred Astaire, Desmond Tutu, Zippy, Bungle, Jean Paul Sartre...
A click or two away I found Found, the closer off their Happiness album. A different kettle of fish entirely. It's like the Bunnymen on E or New Order at sunrise. Or a blissed out Beloved in 1989. Lovely.
Found
Tuesday, 21 October 2014
French Disko
It's a video only day today- I'm doing this on the run and haven't time to rip and stuff.
C from Sun Dried Sparrows left a comment on my Timothy J Fairplay/Editors post mentioning Stereolab and everybody needs a little Stereolab in their lives, especially the mighty French Disko played live on The Word (you'll have to put up with a couple of seconds of Terry Christian first). The driving indie guitars and droning keyboards, Letitia's vocals- pop and experimental in one handy package and a real highlight from the early 90s.
C pointed me towards Editors cover version which is driving and Joy Division-esque and, hey, actually pretty good.
And it turns out that Scandinvian aces Raveonettes cover it too, as seen here at Austin, Texas in 2008.
Still, I think if pressed, out of the three I'd take Stereolab's original.
Monday, 20 October 2014
Gone Girl
This single from March 1996, from David Holmes' first album This Film's Crap Let's Slash The Seats, is an absolute beaut. Jazzy, early hours of the morning, downtempo vibe, drums played with the brushes, stand up double bass and the lovely vocals of St Etienne's Sarah Cracknell, especially the 'you can never go home anymore' line. There were two 12" singles and a couple of cd singles with a load of remixes as well, but the original mix is hard to beat.
Gone
Sunday, 19 October 2014
Honesty
I don't know much about the band Editors- I see their name about and they seem to be on the TV occasionally, one of those groups who say they're influenced by Joy Division and have a doomy sound. For some reason Timothy J Fairplay did a remix of their song honesty. It's a haunting, electronic affair with some nice bleepy bits. In all honesty, I could do with an instrumental version.
Saturday, 18 October 2014
You Bring Light To Me
Underworld have been at the BBC 6 Music live thing at Maida Vale which you can watch if you live in the UK right here. They start with with a perfect opening pair of Dark And Long and Two Months Off, then a barnstorming Born Slippy and the mighty Cowgirl. Shame it gets interrupted in the middle for a brief interview but you can't have everything.
Restless Soul
Lucia Joyce by Berenice Abbott, 1927
I re-found this the other day, a white label only 12" from 1997 by Restless Soul, with a Two Lone Swordsmen remix. I couldn't remember a thing about it and it's a surprisingly funky Weatherall-Tenniswood remix. I've no idea who Restless Soul were and the internet doesn't seem to know either. It might add some light to your Saturday morning, if it needed any.
Psykodelic (Two Lone Swordsmen Remix)
I re-found this the other day, a white label only 12" from 1997 by Restless Soul, with a Two Lone Swordsmen remix. I couldn't remember a thing about it and it's a surprisingly funky Weatherall-Tenniswood remix. I've no idea who Restless Soul were and the internet doesn't seem to know either. It might add some light to your Saturday morning, if it needed any.
Psykodelic (Two Lone Swordsmen Remix)
Friday, 17 October 2014
The Return Of Friday Night Is Rockabilly Night 157
They loved space and science fiction in the 1950s and 60s and rockabilly wasn't immune. Like this single from Blackie Jenkins in 1967 (just checked the date, I'd have put it earlier than that somehow).
Spaceship Life
Sue
What do you think of the new David Bowie song?
Bowie crooning over dark, cinematic jazz, Taxi Driver soundtrack style jazz, side two of Low maybe, a little bit Red Snapper too. It's not an easy listen and at over seven minutes long not the obvious choice of song to spring upon the world to announce a new Best of album. Good stuff I reckon.
Thursday, 16 October 2014
Back Home
I'm a bit undecided about the new Caribou album, Your Love. The reviews have been glowing and I can see what they're getting at. Some of it is undeniably lovely and several of the songs have a real lightness of touch, with laptop beats and ravey synths and the vocals add a very human touch. Some of it feels a bit insubstantial though and I can't help but feel there's too much top end and not enough bass. I could be wrong, maybe I need to give it more time. Maybe I just don't enjoy listening to full albums that much anymore- that shuffle function, single song internet releases, 12" singles and compilations have definitely affected my habits. I do really like this one (sadly not a cover of the 1970 England world cup song).
Back Home
Wednesday, 15 October 2014
This Is...
This is a leather clad Mick Jones, somewhere in the 70s with The Clash, possibly dreaming of world conquest, the transformative power of punk rock and the vast range of influences he will channel into his band's music over the next few years.
This lovely vinyl rip is the B-side to Big Audio Dynamite's hit single E=MC2, a sampletastic song that showed exactly how much things had changed by the mid-80s.
This Is Big Audio Dynamite
Tuesday, 14 October 2014
Headaches
Kompakt's Total 14 compilation is a really good round up of the label's current talent, a double disc set with lots of things new to me that jump out sounding great.
Gui Boratto's Take Control came out in June and is almost too much, like overdoing it on chocolate. Lovely beats and synth sounds, with some guitars borrowed from New Order, featuring Come and Hell.
Take Control
I'm really enjoying this one too, by Terranova. Lots of Kompakt artists have very anonymous, generic, forgettable names. Over a very cool house track ex-Stereo MC singer Cath Coffey vents about headaches- hangover headaches, personal headaches, political headaches, all sorts of headaches. New genre- paranoia house.
Labels:
au pairs,
cath coffey,
come and hell,
gui boratto,
terranova
Monday, 13 October 2014
Mark Bell
It's been announced today that Mark Bell of techno pioneers LFO died last week of complications following an operation.
RIP Mark.
Run out groove 'Mind those speakers'.
I Don't Know What You People Do With Your Lives
I've said it before but I don't think that The Charlatans were either second rate Manchester bandwagoneers or Britpop lightweights. They made some records that fitted in with both those moments but many of The Charlatans' songs sound much better than other bands from the same time. They've just got more to them, maybe due to the history of the band.
Forever was the opening song on their 1999 album Us And Us Only. The full length version was released as part of an e.p. and it blows any of your other late 90s guitar bands away. The slow fade in of organ, cymbal and bass, building up the tension. There's no real chorus to speak of. A slow 60s garage band snarl sustained for seven minutes twenty eight.
Forever (Full Length)
Sunday, 12 October 2014
Zion
Not only did the French Resistance take enormous risks and suffer terrible reprisals while taking the fight to the occupying Nazi forces but they found the time to dress well and look good while doing it.
Underworld did a ton of remixes of other people- Bjork, One Dove, St Etienne all stand out in my mind. This one of Dreadzone takes some beating. At ten minutes long it's got plenty of highlights... the kick drum at 1.11, the Korg riff repeating throughout, the hi-hat at about 3 minutes, keys after 5 minutes, everything hammering away and building ever upwards, the inevitable breakdown (8.13) and then (at 8.34)... whooooosh, we're away again.
Zion Youth (Underworld Remix)
Saturday, 11 October 2014
Friday, 10 October 2014
Mmm Bus Station... I Love You
I took this shot a week ago today, leaving for the battlefields visit from Preston Bus Station. It's a modernist, concrete masterpiece. Unfortunately it's also unloved, dirty, smells of diesel and a million cigarettes, not much fun inside and surrounded by buses. But still, look at those lovely sleek lines.
Underworld's dubnobasswithmyheadman is twenty years old and about to have a five disc re-release. It's still their best album, despite the pleasures of Second Toughest In The Infants and Beaucoup Fish. The long, bass heavy songs, driven by thumping drums, coupled with the snatched, conversational lyrics (inspired by Lou Reed's New York apparently), machine rhythms and energy but warm, human and sexy too.
Mmm Skyscraper... I Love You (Telegraph)
Thursday, 9 October 2014
Still
Johnny Marr looks the business in this photo- the black barnet, drainpipes, denim jacket and white shirt buttoned all the way up (from The Smith's appearance on the Oxford Road Show). As does his songwriting partner next to him, but Marr's look was always a bit more streetwise.
Johnny's been promoting his new solo album with his band, playing the 6 Music red button thing this week. I haven't got Playland yet so can't comment. But the version of Still Ill was first rate.
Still Ill (6 Music session)
Still Ill is a reminder of what an inventive guitarist he is (and he wrote it aged about 18) and also of how stunning Morrissey's early lyrics were. This song has more great lines than some people manage in an entire career- 'I decree today that life is simply taking and not giving, England is mine and it owes me a living' for starters. And whatever your opinion of Morrissey it is sad and unpleasant that he has been having treatment for cancer.
Getting Away With It was Electronic's masterclass of a first single. Marr and his band played it live at Maida Vale. Opinion seems to be split on this live version but I think it's alright. Watch it quick, these red button sessions have a habit of being taken down.
Wednesday, 8 October 2014
Ypres And The Somme
My visit to the battlefields of France and Belgium was really good, so affecting and memorable in so many ways. The picture above is a reconstructed trench at the museum at Passchendaele. During the Third Battle of Ypres British troops attacked uphill, through mud, for several months. The combined casualty figures for both sides totalled over half a million. The village is now home to Tyne Cot, the largest British and Commonwealth war graves cemetery in the world, containing the remains of nearly twelve thousand men and the names of thirty four thousand whose bodies were never found or never identified. 8367 of the graves bear the inscription 'A soldier of the Great War'. Siegfried Sassoon wrote 'I died in hell- they called it Passchendaele'.
While walking up a track by a farmer's field on The Somme we were warned to look out for battlefield debris. These three unexploded shells were lying by the side of the path, uncovered by the farmer and awaiting removal by the French army. The one on the left was a very recent discovery, it had wet mud on it. They look quite small in the picture but the middle one was as long as my foot. Not that I was putting my foot anywhere near it.
This place left me quite shaken- Beaumont Hamel, the Somme. On July 1st 1916 British troops advanced on the German front line, the first day of the Battle of the Somme. I took this picture from the German position. The British front line was where the trees are. You can walk it in about five minutes today. As the British advanced they were mown down by German machine guns. A petrified tree about 50 yards in front of the British front line was the furthest anyone got. After two hours volunteers from Newfoundland were sent in. They were wiped out. I've read about the Battle of the Somme, this particular part of it, and seen pictures but walking this small part of the battlefield, understanding the topography of the land and how it affected the battle, and standing where such slaughter took place was humbling. It really struck me.
This is a field near Serre. Behind me was a copse and a natural dip in the ground where on July 1st 1916 the Accrington Pals assembled, waiting to go in. At the crest of the rise in the picture, just in front of the tree line were six German machine guns. As the Pals, all Kitchener volunteers, walked out of the copse and advanced into this field the machine guns opened up, firing at waist height. You can see how much cover the Accrington Pals got in this field. None. Of the 700 men who started the day, 235 were killed and 350 wounded in about half an hour. Many of them are buried in a cemetery down in the dip. To stand there, walk across the land, be where they were, on a lovely day 98 years later- difficult to put into words really.
No music.
Beachcombing
This 12" came out last year, from the combined talents of Peter Gordon and Factory Floor. Listening to it on the bus back from Belgium late on Monday night, through headphones, was close to a religious experience especially round the nine minute mark- and not entirely due to sleep deprivation. Ebbing and flowing of sounds, pulsing waves and oscillations and discordant saxophone (an instrument often I can't abide). Full on.
Beachcombing
Friday, 3 October 2014
Dulce Et Decorum Est
I am off on a school trip to the battlefields of the First World War today, taking in various trenches, cemeteries, memorials and museums around the Somme and Ieper (Ypres, Wipers). I've visited parts of the Western Front before, including Tyne Cot, the largest British and Commonwealth War Graves cemetery in the world. It is unforgettable and a trip well worth taking.
I don't get back until late Monday night so don't expect any Bagging Area blog action until Tuesday at the earliest. I can't think of any more songs with Latin titles- four is as far as I can get. This song is played by Wild Billy Childish, from a radio session a few years back. Keep Your Lamps Trimmed And Burning is a blues song from the 1920s, usually associated with the Rev Gary Davies and Blind Willie Johnson.
Keep Your Lamp Trimmed And Burning
Thursday, 2 October 2014
Pro Patria Mori
This Latin song title challenge is turning out to be difficult. I suspect if I was into Metal I'd be alright- I have a feeling metal bands give their songs Latin titles quite often.
Ian McCulloch digs me out of a hole today with a track from his 2012 solo album Holy Ghosts, a fine record full of sweeping strings and that voice, with nods to the 80s but here in the present. Julian Cope, as has been well documented, is not a fan. In a recent interview he described McCulloch's career as the universe having a hiccup. A bit unkind Julian.
Pro Patria Mori
The two disc edition of Holy Ghosts came with some good orchestral versions of solo and Bunnymen songs recorded live at the Union Chapel, worth shelling out on if you're a fan. The title comes, obviously, from Wilfred Owen's famous poem Dulce Et Decorum Est Pro Patria Mori.
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.
Gas! Gas! Quick, boys! – An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling,
And flound'ring like a man in fire or lime . . .
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie; Dulce et Decorum est
Pro patria mori.
Labels:
Echo and the Bunnymen,
ian mcculloch,
wilfred owen
Wednesday, 1 October 2014
Spasticus Autisticus
Is this cheating? I'm counting it as Latin.
Ian Dury's primal rage, ' a battle cry and an appeal for understanding' to quote wiki, standing up and being counted as a disabled person...' I'm Spasticus!'. Written in 1981 as a protest, deliberately provocative, fed up with being patronised, it got little airplay or record company support. It popped up in 2012, performed by Orbital at the London Paralympics opening ceremony.
As the parent of a disabled child, a carrier of the gene that caused it, I can empathise.
Ian Dury's primal rage, ' a battle cry and an appeal for understanding' to quote wiki, standing up and being counted as a disabled person...' I'm Spasticus!'. Written in 1981 as a protest, deliberately provocative, fed up with being patronised, it got little airplay or record company support. It popped up in 2012, performed by Orbital at the London Paralympics opening ceremony.
As the parent of a disabled child, a carrier of the gene that caused it, I can empathise.
Tuesday, 30 September 2014
Veni Vidi Vici
I have decided to accept the self imposed challenge to post a song each day this week with a Latin title- that's Latin the dead language rather than latino or latin American just to stick some rules on it. It may require some thought to get through the week (although Friday is sorted).
The Black Lips were a decent little garage band who appeared towards the end of the last decade. They got a lot of press for their bad behaviour- pissing on stage, spitting in each other's mouths etc- which overshadowed the songs a bit. This song is a good 'un, less raucous than the rest of the album it came off. Came, saw, conquered.
There was also a Diplo remix, which kept the bassline and sound effects but redid the drums and looped some of the rest up a bit.
And, here we go again, an Andrew Weatherall remix which as far as I know was only released on a compilation/mix cd he put together called Watch The Ride. If you can wait until teatime on Wednesday you'll be able to dl it.
Veni Vidi Vici (Andrew Weatherall Dub)
Labels:
andrew weatherall,
black lips,
diplo,
julius caesar
Monday, 29 September 2014
Ad Infinitum
I love this 12", released on Warp back in the early 90s by Rhythm Invention. It still sounds good, with a driving beat and bassline and it's far more direct than a lot of Warp's stuff.
There are many people who would say, 'yeah it's good, but really it's all about the Ali Cooke remix on the other side.'
Ali adds some hip-hop at the start, a stuttering vocal snippet and when those synth strings hit at three minutes thirty odd seconds, ooh, goosebumps, yeah, I think they're right. Awesome, as the kids say. Tune as we used to.
Sunday, 28 September 2014
Polygons
Polygon Wood (West Corner) July 1917
Polygon Window, Aphex Twin, 1993. Still sounds like the future.
The new Aphex Twin album, Syro, is well worth some of your money if you haven't got it already. Loads to explore within it from the warm synth action of Minipops 67 to the gorgeous minimalist piano at the end.
Polygon Window, Aphex Twin, 1993. Still sounds like the future.
The new Aphex Twin album, Syro, is well worth some of your money if you haven't got it already. Loads to explore within it from the warm synth action of Minipops 67 to the gorgeous minimalist piano at the end.
Saturday, 27 September 2014
Gimme Some
Here's something brand new, electronic and from the Kompakt record label in Cologne, also home to Kolsch (maker of two of my favourite records of recent years- Der Alte and Goldfisch). After a jarring intro it settles into a pulsing beat. Handclaps come and go, snatches of vocal, synth chords and some throbbing noises, everything shifting around to keep it interesting. Weval are a Dutch duo, this is out on vinyl in November.
Liquid Amber
Drew had DJ Shadow's Dark Days at his place this week. Almost the same day I got an email from DJ Shadow's people pointing me towards his new stuff at Bandcamp.
There are three songs on the e.p. on his new label Liquid Amber, two new and a remix. Ghost Town is recognisably Shadow- spooky piano, hip hop influences- but with a pretty frantic beat, inspired by future bass. Mob is a headnodder. Six Days (Machinedrum remix) is a mash of bass, soul vocals and drum machine and is really good, my favourite of the three. While he may never recapture the heights of his mid 90s work, or the acclaim, all three are worth having a look at.
Friday, 26 September 2014
The Return Of Friday Night Is Rockabilly Night 156
I said last week I was trying to think of some Scottish rockabilly to cheer up our Scottish friends following the referendum but couldn't. Then Mr Charity Chic suggested The Shakin' Pyramids, Glasgow's own rockabilly band. I'd never heard of them but this song, from 1981, is a cracker. They learnt their skills busking on the streets of Glasgow in the late 70s and put out two albums and several singles and eps between 1980 and 83.
Me and Mrs Swiss are out at a 40th birthday bash tonight. The invite reads 'dress to impress with a dash of red'. Any ideas?
That Crazy Casbah Sound
I have wandered down a Clash shaped alleyway this week so if you don't like them, you'll have to bear with me for one more post. The Clash's approach to Middle East politics may have come across as a bit simplistic on the sleeve of the 12" but, let's face it, it can't have been any worse than the West's dealings over the last few years. Maybe both sides should just get down to some tunes on a ghettoblaster. As it is we get it wrong and make a mess time after time. Our government oppose IS but support Saudi Arabia (some of whom fund IS). And while we act in revulsion at terrorist beheadings of British and American citizens, the Saudi legal system executes its criminals by- yup- beheading. And so on and so forth.
Back to The Clash. On Wednesday, after posting Complete Control, I got an email from Dubrobots saying nice things abut the blog and pointing me towards his own 12" remix of Rock The Casbah, which is a pretty smart job with a stripped down, funky, extended intro and chopped up vox. It would work well played out somewhere. Free download too.
Everyone knows Topper Headon wrote the music for Rock The Casbah, finding himself alone in the studio one morning before anyone else had got out of bed. Joe added some words and job done. It was their biggest hit in the US until the Levi's advert. The video is a hoot- even though the man who wrote the song isn't in it, having been sacked and replaced by Terry Chimes.
I was reading a Clash forum comment thread once, with some people saying they don't like this song or Should I Stay Or Should I Go mainly it seems because they were hits and had videos, and presumably that just isn't punk maaan.
Labels:
dubrobots,
Joe strummer,
mick jones,
paul simonon,
The Clash,
topper headon,
tory crimes
Thursday, 25 September 2014
Midnight To Six Man
For the first time from Jamaica
Dillinger and Leroy Smart
Delroy Wilson, your cool operator
Ken Boothe, for UK pop parade
With backing band sound system
If they've got anything to say
There's many black ears here to listen
Joe Strummer's attendance at a reggae all nighter at Hammersmith Palais led to a set of lyrics for possibly their finest 45. It opens with the line up from the poster above and ends with his disappointment at the pop music on stage, the lack of roots rock and being threatened while hustling for drugs. In between it's got some of the finest lyrics he ever wrote- white youth and black youth needing a better solution, the new groups in their Burton suits turning rebellion into money, Adolf Hitler, Robin Hood and the 'British army waiting out there,weighing 1500 tons'.
In 1988 I was given a C90 cassette containing a load of Motown songs, all of which were brilliant. You can probably imagine the tracklisting. Tucked away on side 2 was Ken Boothe's 1974 number one Everything I Own. I don't know why the tape-maker stuck it on,a lone reggae song among the Detroit hitmakers, but there it was, a delectable nugget of Lover's Rock.
Wednesday, 24 September 2014
In Granada
Joe Strummer fell in love with Granada in Spain, visiting first with girlfriend Palmolive, drummer of the Slits. He returned there often including spending time there in 1984, sheltering from the fall out of sacking Mick Jones and taking The Clash Mk II on the road, when these pictures were taken. He continued to visit for the rest of his life. In May last year he had a square named after him- Plaza de Joe Strummer. He also produced local local punk band 091, who he first heard on a jukebox in a bar. Like Joe's hi-tops I'm not sure they've dated very well.
Complete Control was released 37 years ago yesterday. Complete Control, written to complain about the record company and Bernard Rhodes (who told the band he wanted 'complete control', who then pissed themselves laughing). Complete Control vies with (White Man) In Hammersmith Palais and Bankrobber as the greatest non-album single The Clash made. The original version was produced by Lee Scratch Perry and then remixed by Mick Jones.
This live version is one of the most exciting things you will ever see or hear.
'I don't trust you, so do you trust me?'
'You're my guitar hero'
Labels:
091,
Joe strummer,
lee scratch perry,
mick jones,
palmolive,
paul simonon,
The Clash,
the slits,
topper headon
Tuesday, 23 September 2014
Dub In The Right Way
I've been digging Dreadzone recently. Their dub inspired techno hits the spot, uplifting and righteous. Greg Dread has a Soundcloud page that is worth rooting around in, all sorts of rarities, versions, remixes and live shows. Here's a couple of highlights.
Dreadzone versus King Tubby
A vocal version of their 90s classic Little Britain featuring Earl Sixteen. The instrumental version of this song was all over the place at one point and has some cultural resonance today in the light of the referendum and the issue of devolution for the regions. It's strange to think that Dreadzone supported the Gallagher brothers at Knebworth.
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