30 November 2021

Soon to Be Appearing at a Location Near You...the Naterock Samplers.

Coming in December:


A seven-part series --- K-Tel Records presents the Naterock Samplers.(the most mega of Megaposts here since Musick Around the World...this time it's Musick through Time).

In order to complete this Sisyphean task, the engineer on board has had to delve into that deep dark hole that is the past, looking back through the lens of time on many things best forgotten. But to clarify a point made in the write-up to the first volume, said chronicler...all right...you've guessed it...it is me... start that sentence over... I want to explore the difference between how I now listen to music whereas in those dark by-gone days I truly lived the music. To make my point as to what I mean about that past, let me tell you a story…

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The Skipper & Gilligan's 


     ...I got busted in November 1970 for holding about fifty caps of mescaline. The fuzz didn’t find my weed, which was a good thing. In Pennsylvania circa 1970 weed was hard time, but mescaline was still a misdemeanor, classified as a violation of the Controlled Substances Act. I was offered the choice between two years probation or three months county jail to pay my debt to the State. I didn't like the idea of reporting to a probation officer for the next two years, so I opted for the three months. They let me roam free through the holidaze. Then I dutifully turned myself in on January 3, 1971. 
 


County jail is a breeze & to make things easier, because I was not really a "hard-core criminal", I was made trustee. My duties were cleaning the three-story Court House that adjoined the jail. I buffed the floors, swept the carpets, dusted the court rooms, emptied the trashes, whatever needed done from day to day, six days a week, Sundays I spent reading or playing cards in lock-down. Six days a week I basically was free to roam the Court House, as long as I completed all my daily task & was on call to the Head Custodian of the building...a lazy sod that did as little as possible & bothered me even less. My friends Mole & Neat Pickles would show up every day, track me down, we’d go into the freight elevator, shut it off between floors & smoke weed until someone’s annoying use of the buzzer drove us crazy. Then I'd spray some deodorizing spray I had on hand (work issued to hide any vomit or piss smell in the Court rooms) & surrender the elevator.

So my three months passed easily & quite quick-seeming.

The worst thing was the FEAR OF THE BARBER. Some old codger would come around on random Sundays to cut the inmates' hair. The last time I had my hair cut was the spring of 1967, so it was long-ass or ass-long by this time. The Warden (just a desk-duty town cop) loved to tease me each Saturday afternoon when I returned to lock-down. "Barber might be comin' tomorrow", he'd always say & laugh his greasy laugh. Well the barber never came & March 28th was the last Sunday before my release date (Saturday, April 3rd). I was working over at the Court House on Friday, only one day 'til freedom, when my lazy-ass Supe came to find me. "They're rolling you up early today", was all he said. When I walked into the jail, there was the barber. They had him come in special, just for me.

I didn't have a Samson complex & I wasn't really vain about my mane, but this was just small-town anti-hippie bullshit they were handing me. The barber was really more like a butcher, he had two cuts: the little Lord Fauntleroy look & the kinda half-assed mullet thing. Seeing as I was a long-hair, he said sneeringly, "Number Two fer ya, boy?”"
 
"No thanks", I said. "Just buzz it all off."

That's not what he was expecting or wanting to hear, but it was just twisted enough that he could get off on it & so he obliged. In a few minute I went from hippie to skinhead, appearance-wise. When I went back to my cell & listened to the whistles & hoots, some existential dread came over me. I hadn't told any of my friends exactly when I was being released & I was glad. I wasn't sure I wanted to see them right then. After three months, no matter how easy the time had been, I was feeling mighty anti-social. I rolled out at about 10am Saturday morning, but it was after 3pm before all the bull-shit paperwork was completed & I was finally cut loose. I tied a bandanna around my shorn pate & headed down Market Street toward the center of town. I had no destination & my mood was lower than the early April temperature. I was trudging along the sidewalk, a million miles away in my mind, when I heard the squeal of tires screeching to a halt at the curb next to me. I looked up & came eye to eye with my good friend Whalebait. The last time I had seen him was over the Xmas holidaze just before I went inside. He was home on Xmas break from school at the Hiram Scott College in Scott's Bluff, Nebraska. Even as close as we were, as many experiences as we'd shared together, I wasn't really sure if I wanted to see him at this juncture in time, but I was wondering what he was doing back in town. 
 
 


He reached across the seat (of a 1970 Land Rover 88 Series II2, one of his pride & joys), swung open the door & screamed, "Hop in, Doc. We've got places to be & people to do."

Without really thinking, I hopped in. He shoved a brown paper sack into my lap as he whipped a U & headed north on Market, heading out of town. I looked in the bag, only to see what looked like at least a quarter pound of some fine weed. I took a smell of its pungent aroma & asked, "What's this?"
 

"Matanuska Thunder Fuck", he chortled as he threw a pack of papers at me. "Roll it up."

After we'd gone through the formalities of conversation a bit, about how I had just moments ago got released from jail, about his expulsion from college over "some minor incident" with self-same weed, I had the clarity to query, "Roll it up, you mean roll one up here & now?" 

"Not one, Doc, all of it. We're off on a road trip."

One thing I'd learned in my years of friendship with Whalebait is that he has never been know to take no for an answer to any order he's given. I realized I was in for some strange adventure, but the gray cloud that had been looming over me had now become a swirling tornado. I began to roll. Once I had rolled one & we had taken a few hits, the strength of this legendary potent bud made itself known. By the time we finished & I started in on rolling some more, I thought to ask, "Ah, where we going?' 

"Gilligan’s...MC5." was his reply. 
 
 


Gilligan's (2525 Walden Avenue, Cheektowaga, New York) was one of my favorite clubs. Buffalo was only about 90 miles north of our burg, an easy jaunt. I'd seen the Amboy Dukes & Alice Cooper there before. The club had a great ambiance & a lenient policy on weed smoking once the bands started playing (you could still smoke cigs at venues in those days so they never patrolled the floor once the music started wailing & the bodies started shaking). I'd heard the MC5 many times before & had always wanted to see them. Back in the USA had just come out the previous year & it was one of the albums I had in heavy rotation. Then the thought hit me, crossing state lines & a QP of bud. Shit.

I'd managed to roll about half the bag so far & we'd smoked three dubes, so I was somewhat out of my funk (& out of my mind & out of my body) when Bait chimed up, "What's with the hair? Or lack there-of?"  Nothing like a reminder of my situation to bring me right down.

By this point we were cruising I90 North nearing our destination. We came up beside a car with a freak & his women, obviously bopping to some tunes on the car stereo. Whalebait matched their speed in the adjacent lane, rolled down his window, & signaled the sweet young thing to roll down hers. He yelled over the noise of the wind, the vehicles, & the music exiting their car, "Wanna get high?"

This beautiful flower child smiled back & said, "We'd like to, but we're in a hurry. We don't have time to stop." 

"No problem," said Bait to the girl. "Hop in the back, Doc."

It turns out that the Whale's plan was for me to get a joint burning, pass it out the window to the sweet young thing, let the two of them take a few tokes, & pass it back, which we did (at about 70mph) cruising down the highway. Outta the frying pan & into the fire, it seemed, was my lot. But what the fuck. It was hella good fun no matter how foolish. We only live once after all. It turns out the couple was also going to see the Motor City 5.

I crawled back in the front & by the time we arrived at Gilligan's, I had successfully rolled up the weed. I stuffed the joints, save a few for the (hopefully) return trip, back into the bag & handed it to Whalebait. 

"You hang on to it, I'll distract them at the door."

Now I was adding smuggling a Federally offensive amount of weed into the club to my growing list of infractions. But true to his word, Bait did cause an immense distraction at the door, using Nebraska ID & proffering a C-note for the $5 admission fee. I easily slipped inside unnoticed (except for a few weird looks at my lack of locks [paranoia???]). 
 
 


There was no opening act. After a short wait, the MC5 took the stage. Some older dude (John Sinclair, head of the White Panther Party, I believe) made a short anti-establishment introduction that was well received by the rowdy mob, & then the fireworks began. The lights went dark, then came up slowly on Rob Tyner leering from the front of the stage, microphone in hand & we all heard those familiar word, "& right now..right now...right now, it's time to Kick out the Jams, motherfuckers!" The roar from the crowd was deafening but the music cut through it like a knife. The Motor City mayhem had begun.

From our strategic spot in the middle of the mob, Whalebait & I started lighting joints, taking a couple hits, & then passing them on. When the person on the receiving end tried to pass them back, we'd just wave them on & light another one. We saw the couple from the Interstate & gave then a handful of joints & told them to pass them around. Soon things were abuzz with music & weed. People at the front were passing joints up to the band at regular intervals ("rock 'n' roll, dope, & fuckin' in the streets was their slogan). The music gradually became looser, louder, & freer than imaginable.

At some point in all the hilarity I noticed that DT (Dennis Thompson, drummer for MC5) wasn't getting any weed being kinda isolated in the back. I was in such an elevated state that I grabbed a handful of joints from the bag, handed the rest to Whalebait, & told him, "I'll be back."

I stealthily made my way to the far side of the stage & found a unobserved passageway that provided passage to an area behind the drum riser. I moved up behind DT, lit up a joint, passed it around to him on a roach clip & held it so he could hit it "no hands". He never missed a drum beat. I continued to pass him hits until after several joints, he signaled thumbs up, that he was good. I returned to the floor & joined up with Whalebait. We finished off the rest of the joints & enjoyed the rest of the incredible show. They played on & on, doing three encores, they played the entire Back in the USA & much more. It was a glorious evening

I felt that we had really done something, for the crowd, for the music, but mostly for myself. The effects of the arrest, the trial, the time in jail, the humiliation of the haircut all washed away in a single evening of Revolutionary Rock 'n' Roll.

We cruised back home without incident, all my fears allayed. Of course my hair grew back, & I looked back on it all & laughed. But I've never forgotten that night. One time in the early 90s in LA I happened to be back stage talking with Wayne Kramer & mentioned that night, not sure if he would remember it, as it was probably important only to me, but he got a huge grin on his face. Mission accomplished, I'd say.

So, here's some music for you all… 
 
MC5 – Live 1970, NØ Comps, 2021

Intros / Ramblin' Rose
The American Ruse
Tonight
Rama Lama Fa Fa Fa
It's a Man's, Man's, Man's World
Motor City is Burning
Looking at You
Fire of  Love
Shakin' Street
Starship / Kick Out the Jams / Black to Comm

Enjoy...I did,

27 November 2021

December Gifting

 

So far my bag of joy is not too full.

The list now includes good blogfriends  Jonder,  MrDave,  AboynamedStew,  Stupiddle,  Anonymous from Patagonia,  Pablo,  &  Carlo. They all have gifts awaiting delivery.

To anyone else interested, there are only a few days left until December & then Satan's workshop is closed for the holidaze.

See you then.

Shake that Ikebe, Baby

 

Seven-piece Afro-soul band Ikebe Shakedown formed in Brooklyn in 2008. They took their name from a Nigerian boogie album (ikebe being Nigerian slang for booty).

Ikebe Shakedown are purveyors of up-tempo vintage-sounding afrobeat & R&B instrumental soul. They combine elements of 70s soul with a raw psychedelic style adding tastes of 1960s surf along with cinematic spaghetti Western soundtracks to their powerful grooves & soaring melodies.

So get up off of your ikebe & shake down...

Ikebe Shakedown - Do the Shakedown, NØ Comps, 2021.
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The Prisoner
Five Points
Cover Your Tracks
Brushfire
Can't Contradict
No Going Back
Horses
Out of the Shadows
She's Knocking
By Hook or by Crook
Stone by Stone
Tames the Beats
No Name Bar
Kings Left Behind

Enjoy,

24 November 2021

Back to Trip-hop & Then Beyond into the Vacuum

 

Originally the Love Letter Boxes, then Hoover, but Hoover sucks, so they changed their name to Hooverphonic. They are a Belgian group formed in 1995. The original members are: Alex Callier - guitar, bass, mixing; Raymond Geerts - guitar; & Frank Duchene - keyboards with an ever-changing line-up of singers including Esther Lybeert, Nina Sampermans, Liesje Sadonius, Geike Arnaert, Noémie Wolfs, Luka Cruysberghs, & now Geike Arnaert again. 

 

I kinda lost interest in this band when they added all the heavy orchestration (right after 2010s The Night Before). But I listen to their older material regularly. That's eight full-length albums & numerous singles to draw inspiration from... 

 


Bohemian Laughter
Heartbeat
Shampoo
50 Watt
Club Montepulciano
Expedition Impossible
Mad About You
Jackie Cane
2 Wicky
Norwegian Stars
No More Sweet Music
This Strange Effect
Heartbroken
Every Time We Live Together We Die a Bit
Mad About You (live)

Enjoy,

21 November 2021

Calexico

 

Although this isn’t one of my bands of choice, it is one of the Black Dahlia’s favorites, so...you know...peace in the valley & all...they get their (fair) share of airtime around CNdE. I don’t mind them at all, mind you. I just never have to pick them cuz the Missus takes care of that. With all that being said, here is a selection hand picked by BD herself (that’s why there are two volumes)... 

 

Calexico - To the Hearst, NØ Comps, 2021.
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CD 1 -

Two Silver Trees
The Ride (Part 2)
Girl in the Forest
Epic
Red Dust
Puerto
Crystal Frontier (original version)
Woven Birds
Fractured Air (Tornado Watch)
All Systems Red
The Waves Crashing Silently Through the Dominator’s Hull
Lost Inside
Curse of the Ride
The Vanishing Mind

CD 2 -

Hair like Spanish Moss (dedicated to Dahli)
The Road Back
Victor Jara’s Hand
Jesus & Tequila (live in Austin)
Taster (live @ Satyricon)
Alone Again Or (live in Austin)
Crystal Frontier (live in Austin)
The Guns of Brixton (live on KEXP)
Roka (live on KEXP)
Man Made Lake
Sirena
Under the Wheels
Dub Latina (for Nathan :)

Enjoy,

18 November 2021

Barry Don’t Dissemble

 

Being a bassist myself, while I was compiling the Magazine compilation I was drawn to the great bass driven sound provided by the one & only Barry Adamson.

Barry Adamson is a modern renaissance man...bassist, drummer, composer, & writer as well as a photographer & filmmaker. Aside from being a founding member of the post-punk band Magazine & his prolific solo career he has performed with Pete Shelley, Visage, the Birthday Party, Nick Cave and the Bad Seeds, & the electro musicians Pan Sonic. In addition, Adamson has also remixed Grinderman, The Jon Spencer Blues Explosion, Recoil, & Depeche Mode (the seven-minute opus "Useless [Escape From Wherever: Pts. 1 & 2]" remix in 1997). He also worked on the soundtrack for David Lynch's surrealistic crime film Lost Highway.

Here's a mix of Adamson at his best...

Barry Adamson - Barry Don't Dissemble, NØ Comps, 2021.
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Boppin' Out
Something Wicked This Way Comes
Girl
Tupelo (Nick Cave & the Bad Seeds)
The Sweetest Embrace
Mr. Eddy's Theme 1 (Lost Highwat OST)
Up in the Air
Dead Heat
Death Takes a Holiday (Depeche Mode)
Suck on the Honey of Love
What it Means (radio edit)
Twisted Smile
Palaces of Montezuma (Adamson Grinderman remix)
007, A Fantasy Bond Theme (dance version)
In Other Worlds
Diamonds
Come Hell or High Water
Dissemble

Enjoy,

15 November 2021

The Snapshots had Become Almost as Dim as Memories

 

Eyeless in Gaza is a semi-autobiographical novel of a man's search for a personal escape from the moral disillusionment of the modern world. No wait, that's Aldous Huxley’s 1936 monumental novel of the post WWI world.


The Eyeless in Gaza here was formed by Martyn Bates & Peter Becker in 1980. Since that time they have compiled a body of work with both remarkably consistent quality as well as near-total lack of mainstream recognition. They continue unabashedly creating their unique post-punk sounds. They have described their music as "veering crazily from filmic ambiance to rock & pop, industrial funk to avant-folk styles."  Bates & Becker present melancholy unsettling sketches with minimal percussion, introspective lyrics, emotionally charged vocals combined with sparse melodic keyboard & guitar patterns.

If you're not really partial to this band, then just keep moving, nothing to see here. If you don't know this band, you might want to check this out. If you like the band, then here are some fine memories... 

 

Eyeless in Gaza - Pales Hands' Picks, NØ Comps, 2021.
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See Red
Dreaming at Rain
No Noise
Falling Leaf Fading Flower: Goodbye to Summer
Welcome Now
Sorrow Loves Yr Laughter
Mysterious Traffic
The Day Began
You Are Grace
Staring
Ill-Wind Blows
Rose Petal Knot
The Eyes of Beautiful Losers
Said Bitterly

Enjoy,

12 November 2021

Little McSkip

 

Who has released records on all these labels: the legendary R&B label OKeh, the nu-blues stronghold Fat Possum, the key rap originators Sugar Hill, Tommy Boy, & 4th & Broadway, the innovative On-U Sound, & Real World Records?

Which musician has played on records by Grandmaster Flash, Afrika Bambaata, Lee 'Scratch' Perry, James Brown, Robert Plant, Mark Stewart & The Mafia, Sinead O'Connor, & Megadeth?

The answer to both these questions is Skip McDonald. & Skip is Little Axe.

Skip, along with his cohorts Doug Wimbish & Keith LeBlanc, formed the core of the house band for Sugar Hill Records playing on some of the most influential early rap classics, such as "Rapper's Delight", "The Message", & "White Lines".

Keith met Adrian Sherwood in 1984 while working at Tommy Boy Records. Keith introduced the rest of the posse to Adrian & things blossomed from there. Soon after this meeting the three musicians crossed the pond & became part of Adrian Sherwood's On-U Sound crew, making some of the most adventurous highly praised UK music since that time. Fats Comet released Bop Bop in 1985. Tackhead followed the next year with Mind at the End of a Tether.

Little Axe's first release on On-U Sound was 1993s Never Look Back. Since that time, Skip has kept his dream & music alive & never looked back. 

 


Introlude
Call it What You Like
Back to the Crossroads
Chains
Rapper’s Delight
Song to Sing
On the Beat Sound
London Blues
London Blues Dub
Lift Off
Cosmic Slop
Out in the Rain & Cold (remix)
Black Diamond Rain
The Time Has Come
Hammerhead
Where from Here

Enjoy,

09 November 2021

Tishoumaren

 Re-uploaded by request 02/24/2024.

In 2012 after armed rebellion broke out in northern Mali, Sharia law was imposed, including a ban on all secular music. Islamic fundamentalists wereseeking out musicians, burning their instruments in the streets &even cutting off their hands. Two months later soldiers overthrew the Mali government, creating turmoil throughout the country as well as power outages, fuel shortages, & daily curfews in the capital city of Bamako. Many musicians fled to refugee camps in neighboring countries where some remain in exile. Yet in spite of all that has transpired in Mali, the music has not been silenced. The bulk of that music comes from ethnic Tuareg musicians. So we see that Sahel (Saharan) or desert blues refers to both the music of these musickians as well as to the troubled times as well.

 



So although desert blues is influenced by the guitar mastery of Jimi Hendrix blended with traditional American blues combined with Tuareg, Malian or North African music & rocketed to the forefront by the political upheavals in 2012 Mali, I would be amiss if I ignored the influence of the late Ali Farka Touré & the band Tinariwen, both who preceded the 2012 revolution. 



Ali Farka Touré more than any other musickian bought West African music to a global audience. Touré was born in 1939 in the village of Kanau on the banks of the river Niger, but it wasn't until he was approaching the age of 50 that Touré’s music began to receive attention in the west, largely due to the rise of so called 'World Music' in the 1980s. 



He blended the traditional music of Mali with the early Blues guitar sound of the Mississippi delta to create something which explores the lineage of those lost songs bought over on the slave ships during the colonization of the African continent. It has been claimed that Ali Farka Touré’s music contains 'the DNA of Blues'. 



Touré retired from music altogether in 1990 to focus his efforts on his rice farm, Touré's producer convinced him to pick up his guitar again & record a new album. 1994s Talking Timbuktu won Touré a Grammy for best world music album. Not only was this award Touré's biggest success to date, it was also proof that it wasn't necessary for world music artists to dilute or alter their sound to appease western audiences. With this, Touré opened a door which has remained ajar ever since. 

 



With the door left open, in stepped Tinariwen. Tinariwen means 'deserts', plural of ténéré or 'desert' in the Tamashek dialect. Tinariwen formed in 1979 in Tamanrasset, Algeria, but returned to Mali after a peace accord was negotiated in 1995 by moderates on both sides. The group first started to gain a following outside the Sahara region in 2001 with the release of the album The Radio Tisdas Sessions. Their popularity rose internationally with the release of the critically acclaimed album Aman Iman in 2007. Finally the world had rock 'n' roll rebels whose rebellion wasn't just a metaphor. If Touré had left the door to desert blues open, Tinariwen blew it off its hinges. 



It is the new generation of Tuareg rockers like Imarhan, Bombino, Mdou Moctar, & Boureima "Vieux" Farka Touré (Ali Farka's son) & bands like Afous d'Afous, Amanar, & Les Filles de Illighadad who continue to carry the torch of desert blues with its emphasis on arousing joy from suffering. 

 

 

Various - Sahel Blues, NØ Comps, 2021. 

Part One -

Tamidit in Aicha - Group Inerane
Imidiwaren - Tinariwen
Ana - Vieux Farka Touré
Ibas Ichikkou - Imarhan
Eghass Malan - Les Filles de Illighadad
Outamachek (live) - Tamikrest
Toumast - Kel Assouf
Sastanàqqàm - Tinariwen
Tahoultine - Mdou Moctar
Addektegh - Tamikrest
Ofous d’Ifous -Tartit
Dounia Tade - Amanar
Ana (Hisboyelroy’s smooth Dub) - Vieux Farka Touré
Nar Djenetbouba - Tinariwen
Waydana - Group Doueh

Part Two -

Alemin - Group Inerane
Ichichila - Tartit
Wosoubour - Vieux Farka Touré
Imarhan (The Ones who Care) - Imarhan
Tihilele - Les Filles de Illighadad
Tidit - Tamikrest
Bismillah - Tinariwen
Amghar - Kel Assouf
Nak Amadjar Nidounia - Tamikrest
Ittus - Tinariwen
Timtar (Memories) - Bombino
Yahoye - Tartit
Nizzagh Ijbal - Tinariwen
Badbada - Group Doueh

Enjoy,

06 November 2021

Heard Any Good Magazine Lately?

 

Labels. We all scream: "Fuck Labels" yet then we join in & slap one on everything, just so we can more readily communicate with other label hater/users. Musickal genres are some of the most heavily spat upon labels, but we all use them on occasion to help explain or codify a band's sound.

Post-punk. Shit, it sprang up by 1978 & remember, punk just got going strong in '77. So post???punk?
The post-punk bands infused their songs with punk's vitriolic punch but weren't afraid to inject a bit of pop theatricality (& an occasional off-hand synthesizer). The songs were often angry but with a more melodic slant than punk. You might actually find yourself humming the tune after hearing it.

If we're dropping labels & genres here, it's my opinion that you're not going to find a band that exemplifies post-punk more than Magazine They managed to successfully merged pop's rhythmic elasticity to punk's churning belligerence.

I've divided up a massive number of cuts from a short-lived band. CD 1 is album tracks & CD 2 is Live cuts, Demos, & more. Grab a Magazine & relax, if you can, ha...ha..ha... 

 

 

Magazine - Of Course, Howard, NØ Comps, 2021.
decryption codes in comments


CD 1 - Album tracks

Definitive Gaze
Shot by Both Sides
Cut-Out Shapes
Rhythm of Cruelty
The Burden of a Song
A Song from Under the Floorboards
Permafrost
The Light Pours Out of Me
Parade
Model worker
Thank You (Falettinme Be Mice Elf Agin)
Feed the Enemy
Sweetheart Contract
Hello Mister Curtis (with Apologies)
I Want to Burn Again
Of Course Howard 

CD 2 - Live cuts, demos, & more

Definitive Gaze (Peel Sessions)
Shot by Both Sides (Real Life demo)
Touch & Go (Real Life demo)
The Light Pours Out of Me (Real Life demo)
Permafrost (live bootleg)
A Song from Under the Floorboards (live)
Parade (live bootleg)
Because You’re Frightened (live)
Thinking Flame (The Garden alternative mix)
Model Worker (live)
Boredom (Peel Sessions)
Permafrost (Peel Sessions)
The Light Pours Out of Me (Peel Sessions)
Touch & Go (Peel Sessions)
Shot by Both Sides (live)
Definitive Gaze (live bootleg)

Enjoy,

04 November 2021

The Girls of Sun City

I have closely followed the career of the Sun City Girls from the time I first heard Midnight Cowboys from Ipanema in 1986. I have seen them live on numerous occasions, whenever they played anywhere near where I was at the time. The last time I saw them (kinda) was summer 2008 at the Horse/Cow art collective when Alan Bishop & Richard Bishop played "The Brothers Unconnected": A tribute to the Sun City Girls & Charles Gocher, the SCG's drummer who had died from cancer in February 2007.

They're right up there with Bill Nelson, Muslimgauze, & Legendary Pink Dots in sheer numbers of releases that I have accumulated over the years. I'm sure I won't even scratch the surface of everyone's favorites & I'll probably offend a good many in the process, but here's the mix I've compiled. It was one of the hardest ones to do in this series because of the mass quantity & vast variety in their materisl.


Radio Morocco
Kill the Klansmen
Blue West
CCC
Black Weather Shoes
3D Girls
Dreamland
The Venerable Song (The Meaning of Which is No Longer Known) pt. 1
Ruby on the Ferris Wheel
Cruel & Thin
Black Orchid
A Thrones Stow
Book of Revelations

Enjoy,

02 November 2021

My Thanks to All My Visitors

 

On October 27th my visitor count passed the 2,000,000 mark.

So I've decided to reward all of you loyal followers out there with gifts from me to you because of this. From now until the beginning of December I am taking request from anyone who reads this. 

 It's really simple. 

You get three wishes. I'll do my best to grant at least one of those wishes.

Maybe write a brief-to-detailed reason for you're request. 

You can put your requests in the comments of any posts. I'll see them, check them out, & see what I can do.

I'll post up the results at the end of November. 

Then throughout December I will gift posts to everyone that I've chosen who requested music.

 So, until December...

 

Until December - The 415 Sessions 2xCD, Wounded Bird Records WOU 438, 2010.
decryption codes in comments

This Side CD1 -
No Gift Refused
Heaven
Sequence Line
Mirrors
Call Me
Forgive & Still Forget
Free Again
Zodiac Drum Solo
Slave
Geisha
Secrets (I Won't Tell)  single version
We are the Boys (single version)
Until December (single version)
Live Alone in Shame (single version)
Bela Lugosi's Dead (single version)

Daddy Side CD2 -  
Secrets (I Won't Tell) extended version
We Are The Boys (Extended version)
Heaven (extended version)
Heaven (Dub version)
Call Me (12" version)
Call Me (13" version)
Free Again (My Sin - Sylvester mix)
Free Again (Touch Me - Live Hooker mix)
Live Alone In Shame (Berlin ixm)
Until December (12" version)
Live Alone in Shame (Cotati ixm)
Bela Lugosi's Dead (12" version)


Thank you all for stopping by & hopefully finding some musick you've enjoyed. Come back soon.


01 November 2021

NØvember CØmpilations

 

I've been doing theme music (Dub September & Weird October) these past months. Continuing on this month I decided to post up compilations of bands that I listen to for my own regular musickal enjoyment that I haven't really featured here or foisted off on my unsuspecting visitors.

This is music that I have playing around Casa Nada del Este when I'm not working on this blog thang or have playing through my headphones as I fall asleep at night. Perhaps this is over-indulgent of me, but whatever. The next several posts are just for me. If you like them, let me know.

Starting of with the band I wake up to & fall asleep to nearly every day & night...

Trip-hop hip-pop
Downtempo tune drop
T-Corporate rock
The Distaff Side &
Downtempo Dubs 

 

Thievery Corporation - The Distaff Side of..., NØ Comps, 2021.
decryption codes in comments


Heaven's Gonna Burn Your Eyes
Le Monde
Lebanese Blonde (original version)
All That We Perceive
Where it All Starts
Beautiful Drug
Free
Take My Soul
Omid (Hope)
Shadows of Ourselves
Time & Space
Love Has No Heart
Lose to Find
Un Simple Histoire (A Simple Story)
Sweet Tides
Until the Morning
La Femme Parallel
Is it Over? 

 

 


The Outernationalist
A Warning
Lebanese Blonde (instrumental)
Treasures
Sound the Alarm
From Creation
Music to Make You Stagger
The Temple of I & I
The Shining Path
Liberation Front
San San Rock
2001 Spliff Odyssey (Dub edit)
Until the Morning (rewound)
A Guide for I & I
False Flag Dub

Enjoy,