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.

Slinging tuneage like some fried or otherwise soused short-order cook

27 January 2018

What's that Sound Drifting from the Bleachers?

Brother Ib over at SibLINGSHOT ON THE BLEACHERS has been posting up some of his poetry as spoken word readings:

"While there may be scant few who remember, and less still who give a f@ck, it does not escape me entirely that nearly a decade has rushed by since I broke my promise to defile the bleachers with a bespoke reading or two.
     Well. The ego has shrivelled, the eagle never did land, but the idea which first began percolating down through the topsoil all those years ago to where exhibitionism lies buried continues to fester like human papilloma virus nursing a grudge deep below the skin.
     The monkey may be rusty, his performance wavering, but feed it a couple of tabs of Viagra and the organ still grinds.
     And so. This year coming, plans are afoot to resolve the unconscionable and break out the mic. The logistics remain hazy. The physics untested. But rest assured, the programme is scheduled. There will be a gnashing of teeth. Amen." Ib

His first offering in the series was prefaced thusly:

"Brothers and sisters. Siblings all. As promised earlier, SibLINGSHOT ON THE BLEACHERS is pleased to present the first instalment in a series of esoteric readings culled from these very pages and brought to life by the magic of an ailing ethos digitalis. Ably backed by Gus Ghost, this first reading is dedicated to the legacy of Joe Meek. Thank you." Ib

Now the second in the series ("The second instalment in a series of readings culled from the BLEACHERS' back pages. Please bare with me. The naked essence of the recording may drift into the red on occasion. A streaker stepping off of the benches to tango up in blue." Ib) was just Ib recting "naked" & gave me the idea of dubbing some music with his vocals. After a few feeble attempts & some SOUND advice from Brother Jonder, we came up with something at least listenable.

All this mucking about led to "MIX UP ON THE BLEACHERS!"

"Fourth instalment in this series on the BLEACHERS. In which we throw out an open invitation to all visitors: take a naked reading for a test drive, and create your very own mix. Whether you're quick on the DAW or simply a budding conjuror, there are no prerequisites beyond your enthusiasm for all things dub. All we ask is that submit your end product here for download and potential issue on a strictly limited CDR. If you would like to participate in our project, we will be hosting naked readings on the bleachers for that purpose in the coming days, in addition to selected mixes by the Ghost Men." Ib

So head over to the BLEACHERS & check out what's going on. Maybe YOU are the one to make THE PERFECT MIX.

Mixmasters Unite,

20 January 2018

Come on, Ref, Clough is Fucking Codding!

 Brother Jon has been a contributor here many times before. His posts always have high visitor & download count. They are always well received. They are always well appreciated by yours truly (gives me a break, know what I mean?). Here his latest super submission. As I most always say, "Enjoy".

As I understand it, "cod" is used as an adjective in the UK to indicate an imitation.  "Cod reggae" describes attempts to adapt the Jamaican musical style to rock, pop and punk.  "The Sad Skinhead", "Redondo Beach" and "Dreadlock Holiday" are early examples.   Punky reggae and dub have been attempted by bands from the Clash and the Ruts to the Pretenders and the Bad Brains.  The Police made a career of it. 

But the commercial zone is less interesting than the interzone, where the spatial dynamics of dub stimulated punk's appetite for sonic deconstruction.  These songs might be imitation reggae and dub, but "cod" does not mean insincere or inept.  The songs are neither thievery nor mimicry.   Something is lost in terms of authenticity, but something new is conjured in these transliterations.

This is a compilation in the spirit of 2003's "Wild Dub: Dread Meets Punk Rocker Downtown" and 2012's "Spiky Dread: Punky Reggae & Post Punk Dub".

01 SNAKEFINGER:  The Man In The Dark Sedan (1980)
02 A.MORE:  Judy Get Down (1979)
03 BILL NELSON:  Youth Of Nation On Fire (1981)
04 ELVIS COSTELLO:  B Movie (1980)
05 LONDON UNDERGROUND:  You Don't Know (1983)
06 PIGBAG:  Six Of One (1982)
07 FAMILY FODDER:  The Big Dig (1982)
08 KALAHARI SURFERS:  Township Beat (1985)
09 ANTI SOCIAL WORKERS:  Who's Watching You? (1983)
10 DIAGRAM BROTHERS:  I Didn't Get Where I Am Today By Being A Right Git (1981)
11 23 SKIDOO:  Another Baby's Face (1981)
12 SLITS:  Man Next Door (Version) (1980)
13 BASEMENT 5:  Chip Butty (1980)
14 SINGERS & PLAYERS:  Follower (1982)
15 MEDIUM MEDIUM:  Guru Maharaj Ji (1983)
16 BLACKOUTS:  Everglades (1985)
17 HOLGER CZUKAY:  Witches Multiplication Table (1981)
18 MR. PARTRIDGE:  I Sit In The Snow (1980)
19 RESIDENTS:  Love Leaks Out (1980)
20 FLYING LIZARDS:  Postscript (1995)

Eat Cod,

06 January 2018

Who Killed Jack Ruby?

Wishing you all temporal tangos, mandible mambos, beryllium blues, & bad teeth this New Year. I believe we are in for "DEEP SHIT" this year, so I'm trying to be uplifting my Self.  From deep in my soul to all...

We all've heard MC5, Velvet Underground, the Dead Boys...but how many of us are familiar with Jack Ruby? Yeah, sure, he shot patsy Oswald before that sad tool could spill the assassination beans, but who is this relatively unknown Jack Ruby?

Jack Ruby came alive in 1973 through vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, & classically-trained viola player Boris Pearlman (notorious himself as Boris Policeband...search out Stereo / Mono by Policeband elsewhere on the web...readily available & a great listen), who were later joined by bassist George Scott (of James Chance & the Contortions / 8-Eyed Spy / John Cale). The first incarnation of Jack Ruby recorded two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit & Run" & (the first song I ever heard from Jack - this shit made a great sandwich) the bizarre number entitled "Mayonnaise", based around Boris' amplified viola & primitive electronic 'beats' sequenced on Cohen's Serge synthesizer.

These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Jack now gave birth to three more anthems of arch art-punk: "Bored Stiff"; "Bad Teeth"; & "Sleep Cure" were recorded in a rapid-fire five to six hour session at Columbia Studios in May 1974. On these three song in particular we hear the Jack Ruby sound: Cohen patching musique concrete sounds through the Serge; Gray's banshee guitar playing & Hall's snotty vocals.

Fast forward two years. Cohen has left & is writing for Letterman. Hall & Gray want to reactivated Jack Ruby as a live-performing unit so they hook up with George Scott. This line-up played harder, faster, & louder than any other band in New York at that time. Their rehearsals at Matrix studios & dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray & Scott are legendary. Casa Jack Ruby was a mecca for NYC punk & No-Wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, the only original member left standing, taking over vocal duties for a couple of shows they played with Teenage Jesus & the Jerks that headlined the Fleshtones. They played one last riotous show with new vocalist Stephen Barth at Max's Kansas City, before calling it quits.

"     Hit & Run is a two-disc set (Hit - CD1 & Run - CD2) of everything (nearly...a fantastic cover of Hawkwind's "Brainstorm" is a much missed ommission - ed.) Jack Ruby recorded between 1973 & 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although forty years old still sound thrillingly-urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974—nine short tracks that play like a library record, book-ended by two longer ones—some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music—hidden for decades, now-revealed—constituting a previously-unheard secret history of the New York City music scene of the early 1970s."    Jon Savage

Jack Ruby - Hit & Run 2xCD, Saint Cecillia Knows CEC002, 2014.
all decryption codes in comments

Hit CD -
Hit & Run
Bored Stiff
Bad Teeth
Sleep Cure
Beggars Parade
Neon Rimbaud
Out of Touch
Hit & Run (‘77)
Bad Teeth (Don Fleming ‘Instant Mayhem’ remix)

Run CD -
Destroy / Lost
Beryllium Blues
Parietal Cha Cha
Lithium Serenade
Hydrogen Lullaby
Palaatine March
Sphenoid Waltz
Sodium Nocturne
Temporal Tango
Mandible Mambo
Ghost Note