Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

22 June 2016

Justice for Democracy

I have stood quiet for much too long on this issue. I was just floored by the announced California results, but I'm up off the mat & my gloves are wiped off. Let's get it on.

20 June 2016

Absolute Equinox

"Prisoners of drops of waters, we are but everlasting animals. 
We run about the noiseless towns and the enchanted posters no longer touch us. "
     The Unsilvered Glass, paragraph 1.

So many times I've noticed that whatever I’m reading at the time so informs my current listening. Right now I’m in the process of reading Les Champs Magnétiques (The Magnetic Fields) by André Breton & Philippe Soupault & man, has the 'musique' coming from Casa Nada been …shall I say…CRAZY!!! as of late.

Four years before Breton would issue his 1924 Manifeste du surréalisme, he & fellow surrealist Philippe Soupault used a process called 'automatic writing' to create the first truly surrealist literature. Automatic writing is used as a tool in Freudian psychology and in related "self knowledge" studies, where it is seen as a means of gaining insight into the mind of the automatic writer through their subconscious word choices.

The idea to attempt such an undertaking was Breton's. Following up on his medico-psychiatric training during World War I which was heavily influenced by Freudian theory, Breton posited that poetic creativity was really an attempt to capture the spoken thought in a way encouraged by analysts prompting their patients to utter rapid, spontaneous, unselfcritical monologues.

Surrealism is a movement best known for the surprise, unexpected juxtapositions of its visual artworks & writings. The movement has had a tremendous impact on all subsequent avant-garde painting, sculpture, theatre, film, poetry, & fiction. But there is really no surrealist genre in contemporary music, where the presence of surrealism is generally unrecognized or forgotten. A surrealist school of composition never developed, undoubtedly because of the hostile attitude toward music of André Breton, who believed that language had already subsumed & surpassed the possibilities of music.

However, as a result of the development of the tape recorder, a true surrealist music became possible in musique concrète—the art of "found" & manipulated sound. But tape recorders were not readily available until the late 1930s, coinciding with the decline of the surrealist movement.

So although none of the music here is actually "surrealist" music (except for some of the musique under the heading 'The Unsilvered Glass'), it is what I have been listening to as a soundtrack to the written word. So following the book's lead, I have broken this into ten sections, one for each 'chapter' of The Magnetic Fields. The links to each section are the chapter titles & as always, all decryption codes are in the comments.

Here are a few songs from the first wave of Surrealist music.

This first section is an early symphony from French Surrealist George Antheil who wrote that, "The Surrealist movement had, from the very beginning, been my friend. In one of its manifestos it had been declared that all music was unbearable—excepting, possibly, mine—a beautiful and appreciated condescension"

George Antheil - Symphony No.1 "Zingareska", 1923.

Vivo, alla zingaresco, poi "Ragtime"
Doloroso elevato

Renowned Surrealist artist René Magritte (whose painting "The Double Secret" opens this post), unlike many of his contemporary Surrealists, believed that music was an ally of surrealism. He maintained a lifelong interest in music. André Souris was one of his dear friends.

Included here is André Souris – L'Autre Voix from 1947.

By 1944, with the publication of his essay "Silence d'or" (Silence is Golden) Breton softened his stance on music, stating that music can be a powerful force for the achievement of "incandescence"; that music could reveal an inner music of poetic language. He recognized music as "independent of the social & moral obligations that limit spoken & written language". Much of this softening of Breton's anti-music position coincided with the development of the tape recorder (not really easily available until the late 30s). The resultant surrealist music directly connected to tape recording was musique concrete. At the fore of this new music movement was Pierre Schaeffer. Schaeffer worked with electronic & experimental music. He was the chief developer of a this unique form of avant-garde music.

I have included Pierre Schaeffer - Études de bruits from1948.

"The music is free, but you have to pay for the plastic, paper, ink, glue and stamps."
Thoroughly overcome by the French for a moment, let's zip over to Pasadena, California for illustrious Nurse With Wound list & Los Angeles Free Music Society alumnus Smegma. The band began in 1973 & had a revolving membership of crazy (& crazy-named) musicians. This release is from 1982.

Here Smegma features (among others): Harry Cess Poole – guitar & vocals; Ju Suk Reet Meate – guitar, bass, trumpet, percussion, & vocal effects; Lee Rocky – violin, flute, & percussion; Jackie Stewart – vocals & effects; Edy Williams, Virginia, & Dr. Odd Pi – vocals;  Dr. Id – tape effects; Amazon Bambi – violin, bass, & vocals; Ace of Spades – mandolin; Mr. Mike – bass & percussion; D.K. – guitar & percussion; MXKing – drums; Cheez-it-Ritz – drums, feedback, & vocals with Dick Knudsen – cello; Craig Magyorody playing several varieties of drinking straws; Modesto Duran – tape skips; & featuring Bub Tutmark.

Smegma – Pigs for Lepers Pigface Records 007, 1982.

Side A –
In the Murder Room
Adena Archives Presents: Part One of the Birth of Bubs

Side B –
Dying Cows with Putrid not Praiseworthy Predation
Madness Mombo
Dickensmeglee Part 35
Mr. Potatohead's Flotation Excersises

bonus track (from the 2006 UK re-release)
Mutant Baby
Pigs for Lepers

Insane man walking with a limp.

On this, their second release (A Little of the Bandit Spirit), Aksak Maboul are somehow known as Aqsak Maboul. Here AM are joined by Henry Cow teammates Fred Frith & Chris Cutler. While co-founder Marc Hollander is busy here, the other co, Vincent Kenis, is absent other than the arrangement of two songs.

Aqsak Maboul: Marc Hollander – organ, piano, clarinet, bass clarinet, drum machine, alto saxophone, soprano saxophone, xylophone, & samples; Frank Wuyts – drums, recorder, piano, synthesizer, & percussion; Michel Berckmans – bassoon & oboe; Denis van Hecke – electric & acoustic cellos, rhythm guitar, & vocals; Catherine Jauniaux – pinball flippers & vocals with Fred Frith – guitar, violin, viola, & bass; & Chris Cutler – drums, percussion, & radio.

Aqsak Maboul - Un Peu de L'Ame des Bandits, Crammed Discs ATEM-CRAMMED 002, 1980.

Side One (five dances) –
Bo Diddley / Modern Lesson
Trio (Nuits d’Argentine) -Tango / Palmiers en Pots
Rondo / Geistige Nacht
Truc Turc / I Viaggi Formano la Gioventù
Pogo / Inoculating Rabies

Side Two (over) –
Knokke / Cinema
a.       Ce Qu' On Peut Voir Avec Un Bon Microscope
b.      Alluvions
c.       Azinou Crapules
d.      Age Route Brra! (Radio Sofia)

Eleven dances for fighting migrane.

This chapter is giving me a headache. It was supposed to feature Deux Filles or Broadcast & the Focus Group or Art Zoyd, but Space & Time & Investigate Witch Cults of the Radio Age & Generation Sans Futur are all currently in re-release (those are the three I’ve been listening to here…you can search them out for yourselves if you are interested) so I’ve opted to substitute Cerberus Shoal here.

Cerberus Shoal has gone through numerous personnel changes accompanied by stylistic variances. Their earliest sound was a kind of psychedelic punk style which morphed over time to prog rock to soundtrack to atmospheric P Floyd/Popol V style which then added Eastern European instrumentation to avant-garde world folk to 2005s The Land We All Believe In’s surrealistic sway.

For The Land We All Believe In, Cerberus Shoal are: Calen Mulkerin - guitar; Chriss Sutherland - bass; Colleen Kinsella accordion & vocals; Erin Davidson – bass, ukulele, & vocals; & Tom Rogers – drums with Karl Greenwald & Tim Morin.

Cerberus Shoal – The Land We All Believe In, North East Indie nei38, 2005.

The World We All Believe In
Pie for the President
The Ghosts are Greedy
Taking Out the Enemy

Jaan Patterson is a very interesting man. He runs the German Surrism-Phonoethics netlabel. He creates Surrealist inspired experimental music & spoken word projects under the names Undress Béton, André Pissoir, Crawl Max, Dusk Euphoria & Reve Steich to name a few. Since this post is based on The Magnetic Fields, I have chosen his Undress Béton personae.

Undress Béton – Tarentaliogy Defloration, Surrism Phonethics 82305, 2008.

Steve’s Handsome Bite
Tarentaliogy Defloration
Son of Doing
Prudentia of Null
Menda is Back
Cluster of Grapes
Exist Not

Here we find Vicar Vittorio Demarin, sitting in his workshop, the Gomma, working on his Surrealist films & their accompanying non-musical non-soundtracks. He has worked with Reverend Freddie Murphy & Chiara Lee of Father Murphy, an Italian noise rock group in the past, providing drums & percussion. Here he is simply left to his own devices to forge this "rubbery piece of Surrealist Italian slapstick".

Gomma Workshop - Almanacco Moderno Sul Linguaggio Dei Gatti, Madcap Collective MDCP015, 2004.

Bruitages Cubik
Ernesto Sapphire Lost Tapes
500 Metri di Torte
My Heart is a Spoon
Nuovi Algoritmi Sovietici
Ink Q.B.
Peter Sellers in the Swamp

Named after a Japanese biker documentary film, Godspeed You Black Emperor! or more correctly (since 2002) Godspeed You! Black Emperor play a moody mélange of mostly instrumental music (with occasional spoken word samples). Eschewing the usual synthesizers of most other similar bands for three guitars, upright bass, violin, & cello, their music is very organic & quite darkly beautiful.

This Kranky re-issue of the F A LP has been remastered & changed significantly, with both added & deleted material. The J.L.H. outro is not listed in the booklet tracklist but is named on the band’s website (I cut out the "untitled" track of dead air between "string loop" & the outro).

On Infinity, GYBE! are: Efrim Menuck – guitar; Mike Moya – guitar & vocals; Dave Bryant – guitar & tape effects; Mauro Pezzente – bass; Thierry Amar – bass, double bass, & violin; Sophie Trudeau – violin; Jessica Moss – violin; Norsola Johnson – cello; Thea Pratt – French horn; Bruce Cawdron – drums & percussion along with a vast cast of others.

Godspeed You Black Emperor! - F A ∞, Kranky krank027, 1998.

the dead flag blues
a.       the dead flag blues (intro)
b.      slow moving trains
c.       the cowboy…
d.      (;outro)…
east hastings
a.       nothing’s alrite in our life / dead flag blues (reprise)
b.      the sad mafioso…
c.       drugs in tokyo / black helicopter
a.       divorce & fever…
b.      dead metheny
c.       kicking horse on brokenhill
d.      string loop manufactured during downpour…
j.l.h. outro

Having nothing really to do with Surrealism, I still had to listen to some The Magnetic Fields. This is basically indie pop from the fertile mind of the group’s songwriter, multi-instrumentalist, & vocalist Stephin Merritt with the constant help of friend, pianist, drummer, & vocalist Claudia Gonson. I’ll just share their first release. At that time Merritt had not yet taken over vocal duties. Vocals are by Susan Anway.

The Magnetic Fields – Distant Plastic Trees, Red Flame RFCD3, 1991.

Railroad Boy
Smoke Signals
You Love to Fail
Babies Falling (The Wild Stares cover)
Living in an Abandoned Firehouse with You
Tar-Heel Boy
Falling in Love with the Wolfboy
100,000 Fireflies
Plant White Roses

The Hermit-Crab sez that neither this nor the previous music is Surrealist, but pay homage to the original starting point of this post, The Magnetic Fields & André Breton.

Roman Pappak – lead vocals & guitar began making music with Adam Ainger – drums in 2007. The two are film-makers with cutting-edge video & sound design work under their belts. In 2010 Breton coalesced with the addition of Ian Patterson – beats & Daniel McIlvenny – bass. Their live shows finds them shrouded in black hoods manipulating guitars, bass, synths, drums, & laptops to create a truly original melee incorporating hip-hop, electronica, & cinematic soundscapes, lit only by the glow of their emphatic self-shot visuals, cut & edited live, in real-time by their touring fifth member Ryan McClarnon. If comparisons must be made, they seem kinda like Hot Chip on Juice.

Breton – 15 Minutes compilation, 2016.

Get Well Soon
Plot Device
15 Minutes
Envy (Gramme remix)
Closed Category
December (Funkineven remix)
302 Watch Towers
15 Minutes (Toys remix)
Edward the Confessor
Titan (DYD remix)
Population Density
Envy (Orchestral remix)
Parthian Shot
15 Minutes (Rone remix)

Surrealist as hell, what a way to wrap this up. I may have posted this before, but it is the most Surrealist of the surreal theory-of-obscurity Residents. I’ll say no more

The Residents – Not Available, Ralph Records RR1174, 1978.

Side A –

Part One: Edweena
Part Two: The Making of a Soul
Side B –

Part Three: Ship’s a’ Going Down
Part Four: Never Known Questions

"The nocturnes of dead musicians lull the cities sunk in endless slumber. What are we waiting for? A woman? Two trees? Three flags? What are we waiting for? Nothing. "


06 June 2016

Man, I’m Down to Stems, Sticks, & Seeds

The Stems – At First Sight Violets are Blue, White Label Records L38735, 1987.
all decryption codes in comments

Side 1 –
At First Sight
Sad Girl
Man with the Golden Heart
Running Around
For Always

Side 2 –
You Can't Turn the Clock Back
Move Me
Mr. Misery
Can't Forget that Girl
Never be Friends
The Otherside

Dom Mariani – vocals & guitar; Richard Lane – vocals, guitar, keyboards, & harmonica; Julian Matthews – bass & backing vocals; & Dave Shaw – drums.

Sticken-In – Chinese, AufRuhr Records 670008, 1985.

Side One, A, or Said Wan –
niagara falls
... bush
a note from
sunweedfactor / and I don’t know

Side Two, B, or Said Tu –
machine tools
chinese moon
the right stone
one, two, or three nights
round and round

Terry Rudat – vocals, guitar, organ, synthesizer, tapes, & percussion; Gerald Fischer – guitar, guitar synthesizer, synthesizer, tapes & percussion; Michael Kohl – guitar, guitar synthesizer, & synthesizer; Thomas Gawlas – guitar, bass, synthesizer, percussion, & humming; & Bidi Satz – organ, percussion, & drums with vocal help from Roul de Posamentier & Susanne Issig; backing vocals by the boys in the band.

Tindersticks – Amsterdam February 94 10", This Way Up WAY3288, 1994.

Side 1 –
Milky Teeth

Side 2 –
Drunk Tank
For Those…

Stuart Staples – vocals; Neil Fraser – guitar; Dickon Hinchliffe – guitar & strings; Dave Boulter – organ & accordion; John Thompson – bass; & Al MacAulay – percussion & drums.

Beme Seed – Beme Seed, Blast First BFFP50, 1989.

Side A –
We Free Four
Universe in the Room
The Love that Touches

Side B –
I am the Sign
God Inside
Happy Me

Kathleen Lynch – vocals; Michael Albin – guitar; Eric Jacobs – bass; & Kenny Savelson – drums.

Just kidding,

05 June 2016

It Was 10 Years Ago Today, Professor Skank Brought the Dub to Play

Professor Skank – Industrial Democracy, Music Chisken CHICK012CD, 2006.
decryption code in comments

Tracklist –
Intro (What is Dub?)
Hear the Dub
The Dub Inventor
Industrial Democracy
Sunny Day
Electric Party
Dub Plate
Sound Boy Peace
Say No to Racism
Sunny Dub

Industrial strength Dub,

04 June 2016

You Have Been Warned

Warning – Electric Eyes, Polydor 8145 646-1, 1983.
decryption code in comments

Side One –
White Camels
Dark Crystal
Soldier of the Light
Journey to the Other Side

Side B –
They are on Their Way Again
The Spider
Night Crossing
Electric Eyes

Edgar 'Ed Vanguard' Schlepper – synthesizer & organ & Reinhard 'Dicky' Tarrach – drums.


03 June 2016

Peter Wore a Tuxedo in the Moonlight

Peter Principle – Sedimental Journey, Crammed Discs MTM 4 CD, 1985.
decryption code in comments

tracklist –

The Anvil Chorus
Pandemonium – Spring
Friends of the Extinction
Tippi Rider
The Eleventh Race
Werewolves at the Gate
Noon – Ain’t Superstitious
Before the Wind

For Saskia Lupini,

The Howl of the Markus Wolff

Crash Worship – Hit After Hit cassette, Rocco Fresco, 1987.
decryption code in comments

Side A –

Bobby Jojo Bobo & the Bobby Jojo Bobo Orchestra
The Respirator
Running Friends
Sunday Mourning
Thee Organs of Voice & Desperation

Side B –

Brown Stucco Love
Before It’s Too Late
Big Truck

Recorded at Mira Costa Moosick Studios, California, US in 1985-86.

Enjoy if you can,

31 May 2016

Mind Control to Make You Dumb

I had a dream the other night & David Bowie was in it. So I woke up, fell out of bed, dragged a comb across my head, made my way downstairs & put on the bootleg David Bowie at the Aylesbury Friars Club from 1971 (kinda an extended Hunky Dory set).

Then I fell back asleep & re-imagined this…

Fill Your Heart – Tiny Tim
Buzz the Fuzz – Biff Rose
Space Oddity – Adrian Sherwood
(Dans le Port d’) Amsterdam – Jacques Brel
The Supermen – Doctor & the Remix
Oh! You Pretty Things – Seu Jorge
Eight Line Poem – Luiz Marcondes
Changes – Cybernauts
Song for Bob Dylan – Robyn Hitchcock
Andy Warhol – John Frusciante
Queen Bitch – The Tragically Hip (featuring Bob Rock)
Looking for a Friend – The Arnold Corns
Around & Around – The Rolling Stones
(I’m) Waiting for the Man – David Bowie


27 May 2016

Saving Herself

Just thought I'd let everyone know. I'm suffering RAM death. The Blue Screen of Doom is now my constant companion. Saving herself...I hope I can save myself. So I'm hoping I'll see you all on the other side. Until then, here's a little something (I know jonder said shakeitrecords.com had their stuff, but I couldn't find it???) to tide you over. Hope it's won't be too long.

I wrote the post below before I knew I was dying.


When Jonder hosted Barefoot on the Accelerator here, he included "Dead on 2 Legs Luncheonette" by Dayton, Ohio band Dementia Precox. I had let this great band slip my mind (not a hard thing to do these days). I intend to remedy that right here right now.

Dementia Precox – SCHP 12" 45, Prehensile Records 211003X, 1982.

Side 1 –
Maladie d’Esprit
Untitled as of Yet
Fla(w) Girls

Side 2 –
Coppola 13
She’s Just / Lord Have Mercy Dance Music


24 May 2016

Esoterica, Exotica, & Underneathica

1980 was my Year Zero.  I was a Midwest high school freshman (class of 1984).   AC/DC and REO seemed inescapable.  It was driving me up The Wall.  I had to go in through the out door, and seek out scary monsters and super creeps.

It was a year of impressive debuts, by the Cramps, X, Pylon, Feelies, Wipers, Pretenders, Young Marble Giants, Killing Joke...  It was also a time of reinvention:  Off the Wall, Remain in Light, and Doc at the Radar Station.  There were endings, too.  In 1980, video killed the radio star.  Chapman shot Lennon.  Ian Curtis cancelled his US tour, and Darby Crash didn't make it to his big screen premiere.   

I started trading tapes and sending away for strange records.  Made a fanzine and got some high weirdness by mail.  I was underage but got into a few clubs where I caught glimpses of hidden places and forbidden rites.

Barefoot on the Accelerator is a soundtrack to my early 80s forays into the American post-punk underground.  These songs still haunt me three decades later.   One is a recording from an Ama-Dots show at the Starship, Milwaukee's mini Masque.  I wish the voice of the incomparable Boolah was more audible, or that you could see Gary scraping his guitar with primitive tools.  But you can sense the Ama-Dots' feral energy and floor-pounding rhythms.

Post-punk is a term that has lost significance with repetition.  In the early 80s, it seemed that anyone could invent all manner of ways to conjure up the unheard music.   The significance of PiL, Wire, the Slits, and the Gang of Four was easy to see from across the pond, and not hard to emulate.  But back then, as now, no one could be certain who would be recognized by future listeners as our own visionaries and pioneers.  We couldn't see our forest; too dizzy swinging from the trees.

Some of our pioneers blazed trails, while others glimmered in dark corners.  Some were lured out into the open by whispers of fame, or were tricked by reflections in the underwater moonlight.  A few carved secret tunnels discovered years after they were abandoned by the archaeologists of post-punk.  Here is a sample extricated from that era's esoterica, exotica, and underneathica.

Various - Barefoot on the Accelerator: Soundtrack to an 80s Foray 
into the American Post-Punk Underground

Chrome - New Age
Plasticland - Office Skills
Pre-Fix - Underneathica
Slovenly - Squeaky Clean
Ike Yard - M. Kurtz
Blackouts - Dead Man's Curve
Pere Ubu - Misery Goats
Ama-Dots - Qualms
Minimal Man - Now I Want it All
Your Food - Leave
Dementia Precox - Dead on 2 Legs Luncheonette
Wounds - Grey
Kommunity FX - Tribulations
Savage Republic - Next to Nothing
Dangerous Birds - Smile on Your Face
Los Nuns - Walking the Beat
Half Japanese - Rosemary's Baby
Mission of Burma - Trem Two
100 Flowers - Strip Club
Raymilland - Tronada (edit)
Factrix - Ballad of the Grim Rider
Flesh Eaters - Divine Horseman


22 May 2016

More (Billy) Bang for Your Buck

Ronald Shannon Jackson & the Decoding Society – Eye on You,
About Time Records AT-1003, 1980.
decryption code in comments

Side A –
Apache Love Cry
Eastern Voices/ Western Dreams

Side B –
Dancers of Joy
Orange Birthday
Theme from a Prince
Eye on You
Ballet de Omphalos

Ronald Shannon Jackson – composer, arranger, & drums; Vernon Reid – electric & acoustic guitar; Bern Nix – guitar; Billy Bang – violin; Charles Brackeen – alto & soprano saxophones; Byard Lancaster – tenor & soprano saxophones; Melvin Gibbs – bass, & Erasto Vasconcelos – percussion.


If Memory Serves…

I’ve never posted this Bill Laswell Material before this.

Material – Memory Serves, Island Records ILPS9693, 1981.
decryption code in comments

Side One –
Memory Serves
Metal Test

Side Two –
Conform to the Rhythm
Square Dance
Silent Land

Material witnesses here are: Bill Laswell – 4, 6 & 8 string basses; Michael Beinhorn – synthesizers, tapes, radio, guitar, drums, & voice with Fred Maher – drums, percussion, & guitar (except "Silent Land"); Sonny Sharrock – guitar (except "Square Dance" & "Silent Land"); Fred Frith – guitar, violin, & xylophone (1,4,5,7);  Olu Dara – cornet ("Disappearing" & "Upriver"); Henry Threadgill – alto sax ("Disappearing", "Unauthorized", & "Square Dance"); George Lewis – trombone ("Memory Serves", "Square Dance", & "Silent Land"); Billy Bang – violin ("Upriver" & "Unauthorized"); & Charles K. Noyes – drums, percussion, & bells ("Memory Serves" & "Silent Land").

Recorded at OAO Studio, Brooklyn, New York.

The land is never silent while we have Bill’s bass,

21 May 2016

Boureima Excited!

Recently buttdart requested Tamikrest – Toumastin over at exystence.net. When I was digging it out to post up a link, I started listening to a bunch of Tuareg & associated Desert Blues T-bands: Tamikrest; Tinariwen; Toumast; Tartit; Terakaft; even Tommy T (The Prester John Sessions); & all the great Tourés---from the 'Originator' Ali Farka Touré, through Samba Touré, & Vieux Farka Touré.

VFT really struck a chord (or many chords) with me.

Here is a remix release of some of his great earliest tunes (I’ve included the original songs by Vieux for your added pleasure).

Ma Hine Cocore
Courage (featuring Issa Bamba)
– all from Vieux Farka Touré - Vieux Farka Touré, World Village WVU710, 2006.

Vieux Farka Touré – Remixed: UFOs over Bamako, Modiba MP005, 2007.
decryption code in comments

Ma Hine Cocore (Yossi Fine’s 3rd Bass remix)
Wosoubour (Chris Annibell remix)
Sangaré (DJ Center remix)
Ana (Goonda Tribal Dub)
Ana (Captain Planet remix)
Sangaré (Nickodemus remix)
Dounia (Cheb i Sabbah’s Africa Unite remix)
Wosoubour (Eccodek remix)
Ana (Hisboyelroy’s Smooth Dub)
Courage (Fabian Alsutany’s UFOs over Bamako remix)
Ma Hine Cocore (Karsh Kale remix)


18 May 2016

"If You Want to Cut Your Throat, Don’t come to Me for a Bandage."

I’m currently wading through Downriver by Iain Sinclair. Sinclair is a British writer & filmmaker. Much of his work is rooted in London, most recently within the influences of psychogeography.

It’s kind of a tough go for a Yank such as I. It’s a surreal/poetic view of the Thames & surrounding environs during the time of M. Thatcher. That was a mighty scary time for the world, but specifically for the Democratic Socialism that was the U.K. prior to that time. Maggie was known as the "Iron Lady". She was great chums with Ronnie Regan, as their economic policies meshed well.

Thatcher pursued a strongly principled (& incredibly fiscally conservative) economic policy, now known as "Thatcherism." (Whether you agree or disagree with her, you have to admit that having an "ism" named after you is an impressive accomplishment. Thatcherism was essentially a free market approach. She stood for:
  • Tax cuts
  • Small government
  • Private enterprise
  • Anti-socialism & anti-communism
  • Anti-unions
Thatcher's disdain toward labor unions & social programs won her a lot of enemies. Margaret Thatcher famously dismissed the idea of a "society." In her view, nations are composed of individuals with no duties to one other

This recording is a companion piece to the book, made of extracts from Downriver read by the author. Recorded at The Instrument, London - 8th May 1998. Thanks to Bruce Gilbert (of Wire & solo fame) for intersperced audio atmospherics.

Iain Sinclair – Downriver, King Mob KMOB 1, 1998.
decryption code in comments

Tracklist –

The Case of the Premature Mourners
Riverside Opportunities
Premature Mourners II
The Solemn Mystery of the Disappearing Room
Premature Mourners III
Art of the Stage
Sexing of Stones
Premature Mourners IV


Who Killed Edward Felix Tudor-Pole? It Was Bambi!

Tenpole Tudor - Real Fun 7", Korova Recording KOW4, 1980.

Side A - 
Real Fun

Side B -
What's in a Word?


15 May 2016

Recorded at Channel One…Atlanta?

The Fans were no more. Kevin had done Rock Lobster. He'd done Pylon. Now he had a regiment of Women. Who was καλλίστῃ, the fairest one?

decryption code in comments

Other Side –
Tootsie 2
20,000 Years in Sing Sing

This Side –
Private Sector
Somewhere Over the Rainbow


More Swiss Cheese - The Dawn of the Firefly

from the mouth of Fizzè hisself:

"The idea for Peeni Waali was born out of a series of chain-reactions, coincidences, luck - I guess - and fast moves discovering Jamaica. "

"Embryo of the project were isolated compositions for a short movie (Paper Mensch) and TV-work I've done in Saudi Arabia in 1981."

"I went to Jamaica in '87. When I arrived in Jamaica, I was fortunate enough to meet a 'tourist guide', who prevented me from much hassle, hustle and bustle - Bruce Harris - a raggamuffin' - the usual 'Jamaican tourist routine'. However, Bruce was sly and not really the prototype of ‘rent a dread’. We roamed in a di bush a wholleepa time and I fell in love at first sight with those 'Peeni Waalis' (fireflies also eekamouse)."

"Bruce introduced me (the first day!) to the late producer W. 'Jack Ruby' Lindo (e.g. Steel Pulse). We went to a rehearsal of three guys up in a di hills and experience a triggering encounter, propelling out a concept for an extraordinary journey into differences within cultures. It was my first encounter with real roots reggae. A day later I went back and talked with the boys. We decided to work together if possible and I enrolled 4 month of an intense 'reggae-crash-course' in Jamaica before going back to Switzerland to record some riddim tracks. "

"... eventually I met Rico Rodriguez. (R.I.P. - he passed away at my birthday in 2015!) and arranged the logistics for him to come to Switzerland to front a local band and record some music and went back to Jamaica in early '88."

"I met my three friends from the hills again but learned, that in the meantime they had signed with a major label. Our initial plan couldn't work. So I went to Kingston to meet Rico again. "

"Rico introduced me to percussion player Leon 'Scully' Simms. With Robbie Shakespeare we built up that riddim track at Gussy's studio down Slipe Road 56! By coincidence, Dean 'Big D' Frazer was just finishing a session there and hung around a bit after. He joined the party and blew us all away with his trademark sax playing: a song was born from out of everybody, free like an impro, original like nothing was premeditated, hence the title "A Noh Nottn' "..."

"Rico also introduced me to Leroy 'Horsemouth' Wallace with whom I was to become very good friends. Hassy and I would roam Kingston in the wickedest places and enjoyed a great time. Obviously, later on Hassy kicked in some wonderful drums for me. Another good friend of Rico was Felix 'Deadly' Headly who played his soulful sax for me on more than one occasion. "

"Back in Switzerland, I moved from Neuchâtel to Jenins (in eastern Switzerland). One day, Jerome Van Jones would come over for Rico's birthday and played my old C-3 Hammond making everybody feel real close to genuine jazz; a vivid déjà-vu for me since I used to run a little record shop inside a jazz club back in Neuchâtel (Jazzland) with the late drummer Denis Progin. "

"Knowing Rico had played on most of Linton Kwesi Johnson's albums - I've contacted Linton. At the same time, Swiss TV approached me for a "Legalize It" show where they wanted to include some Swiss/Jamaican music connection. Rico was to play with a little local band from Neuchâtel but Rico went back to Jamaica two days before the show (being tired of shoe-lacing said local band), so we arranged for L.K.J. and his own band to play the show. Eventually, after a soulful meeting with Linton and his incredible associate Dennis Bovell, "Beacon of Hope" fell off the cradle..."

"Privileged to feature an abundance of craftsmanship, it was a big treat to relate to all these genuine people. The challenge of making an album by coloring, flavoring and assembling all sorts of elements in one concept was an incredible task, yet unconventional and gratifiying; demanding love for detail, humbleness and courtesy."
"Naturally, when you come to Jamaica and mention you're into music you'll be quickly introduced to musicians. Hence, Jack Ruby introduced me to Jackie Mittoo and many others." 

Peeni Waali – A Magic Meeting with…, Blue Moon Productions BM151, 1991.
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Tracklist –

Beacon of Hope – (lyrics by Linton Kwesi Johnson, music by Fizzè & Dizzi) snaredrum: Gilles 'Dizzi' Rieder / bass: Dennis Bovell / trombone: Rico Rodriguez accordion: Alig / ukulele: Cérdric Vuille / guitar: Lorenz Vuille / milkpots: Pascal Cuche / percussion: Dizzi, D. Bovell & Fizzè / keyboards: Fizzè

Skarab (Fizzè)  – percussion: Dizzi, P. Cuche, Fizzè & Scully / bass: Robbie Shakespeare / choir: Catherine Broillet-Mathey, Anne Lehmann, Françoise Borioli / keyboards: Fizzè

Ricochet (Rico)  – snare drum: Dizzi / trombone: Rico / programming, bass & keyboards: Fizzè

Licht & Stein (words by Rainford Perry, music by Fizzè & Dizzi)  – vocal: Lee 'Scratch' Perry / balafones: Dizzi, Christion Addor & Olivier Meury / horns of Liechtenstein: Hans Hämmerle (trumpet) & Gerhard Lampert (trombone) / bass, guitar & perc.: D. Bovell / drums: Bazz Smith / timbales: Dizzi / keyboards: Peter Weber & Fizzè

Peeni Waali version (Fizzè /  Dizzi)   – trombone: Rico / clarinet: C. Vuille / balafon, sanza & percussion: Dizzi / bass, accordion, kalimba, percussion & sax: Fizzè
Paper Mensch (Fizzè)  voice: Rams / trombone: Rico / drums & percussion: Dizzi / bass: D. Bovell / guitars: Momo Rossel & C. Vuille / keyboards, blown bottles, zither & perc.: Fizzè

A Noh Nottn ( Fizzè)  – sax: Dean Frazer / brass: Rico & Felix 'Deadly' Headley Bennet / bass: Robbie Shakespeare / ukulele & accoustic guitar: C. Vuille / el. guitar: L. Viennet / percussion: Scully / drums: Dizzi / keyboards: Fizzè

Irish Irie [Pub Dub] (Fizzè)  – trombone & funda: Rico / sax: Deadly Headley / violin: Christoph Habegger / ukulele: C. Vuille / harp: Asita / accordion: Alig / cabassa: Scully / drums & spoons: Dizzi / keyboards & flute: Fizzè

Rockaman Soul (Fizzè)  – trombone & percussion: Rico / guitar: Martin Millar / drums: Phil Santschi / bass, keyboards & flute: Fizzè

Satin Doll (Duke Ellington)  – trombone: Rico / Hammond C3: Jerôme Van Jones / bass & guitar: Dennis Bovell / drums: Bazz Smith / keyboards: Fizzè

Mini Mali (Dennis Bovell)  – drums: Dizzi / bass & guitar: D. Bovell / keyboards: Fizzè

bonus tracks –

Version of Hope (lyrics by Linton Kwesi Johnson, music by Fizzè & Dizzi)  – snaredrum: Gilles 'Dizzi Rieder / bass: Dennis Bovell / trombone: Rico Rodriguez accordion: Alig / ukulele: Cérdric Vuille / guitar: Lorenz Vuille / milkpots: Pascal Cuche / percussion: Dizzi, D. Bovell & Fizzè / keyboards: Fizzè

Rockaman Dub 1 (Fizzè)  – trombone & percussion: Rico / guitar: Martin Millar / drums: Phil Santschi / bass, keyboards & flute: Fizzè

A Noh Nottn Dub ( Fizzè)  – sax: Dean Frazer / brass: Rico & Felix 'Deadly' Headley Bennet / bass: Robbie Shakespeare / ukulele & accoustic guitar: C. Vuille / el. guitar: L. Viennet / percussion: Scully / drums: Dizzi / keyboards: Fizzè

Peeni Waali (Fizzè /  Dizzi)  – voice: Antonio 'Bruce' Harris / trombone: Rico / clarinet: C. Vuille / balafon, sanza & percussion: Dizzi / bass, accordion, kalimba, percussion & sax: Fizzè