Ginger Baker Band - Ginger Baker: drums; Bill Laswell: bass; Anton Fier: keyboards; Foday Musa Suso: kora, vocal
Bill Laswell's Dropzone - Bill Laswell: bass; Anton Fier: drums; Kiyohiko Semba: drums; Akira Sakata: sax; Peter Brotzmann: sax Disc info 瀬戸内海音楽祭 The disc above is now my Laswell holy grail. If anyone has it to share I would be very grateful
'Smash the control machine'
Tracks from Electronic Revolution/Real English Tea Made Here/Nothing Here Now But The Recordings/10% File Under Burroughs/Vaudeville Voices/Dub Spencer & Trance Hill/Ministry/Laurie Anderson/Bill Laswell & Material. Also features The Master Musicians of Joujouka with and without Ornette Coleman and opens with one of Paul Bowles' field recordings of Morocco
Ambient>Tabla & Bass
1 Eternal Drift (Eternal Thaemlitz Curse Mix) by Material
2 Transfer Complete by Terre Thaemlitz & Bill Laswell
3 The Upper Air by Bill Laswell
4 Corpse Pose by Divination
5 Needle Drop by Bill Laswell
6 Holy Beggars by Oz Fritz
7 Asiyah Dub (Blinding The Starry Eyes Of God) by Automaton
8 Kashi/Lost Roads Orchestral Site/The Taliban/Black Ice/Shiva Myth by Bill Laswell
9 Mantra by Material
10 Morning Breeze by Asana
11 Devotional by Tabla Beat Science
Miles Davis - He Loved Him Madly (Columbia)
Rammelzee versus K-Rob - Beat Bop (Tartown / Profile)1982
K-Rob reveals the truth about Beat Bop (Part I+2) (Crane RTW online interview)
Rammellzee & Toxic C1 - Intro @ the Rhythm Lounge 1984
Slinky Gym School feat. Rammellzee - Crazy Sneaker (WEA)1984
Rammellzee & Shock Dell with The Grand Mixer DST - Rammellzee & Shock Dell at The Amphitheatre (Wildstyle Soundtrack / Animal Records) 1983
The Issac Jackson show - The Messages (excerpts) (Tellus Tools) 1982
Death Comet Crew - At The Marble Bar (Beggars Banquet) 1985
Death Comet Crew - Exterior Street (Beggars Banquet) 1985
Ghettovetts - Death Command (4th & Broadway / Island) 1988
Ghettovetts - Gangster Lean (4th & Broadway / Island) 1988
skit. Weapons (Gamma Proforma)
UNKLE - Rock On (Original/ Nut Cracker mix) (Mo Wax)1997
--- Gothic Futurism MoWax interview 1995
Material - No Guts No Galaxy (Palm Pictures / Axiom) 1999
Material - Hisstory (Palm Pictures / Axiom) 1999
New Flesh For Old feat. Rammellzee - His Stories Crockery (Big Dada) 2002
Part 2 - Rammellzee 1960-2010 (Atom Rooms film)
The Rammellzee - Here We Go (Tri-Eight Records ) 2003
The Rammellzee - I Be Ramm-Ell-Zee-Zee (Tri-Eight Records ) 2003
Ramm - Cheesy Lipstick (Gomma) 2003
SSTV/BBL WORLD- THE RAMM:ELL:ZEE (Japanese chat show)
New Flesh For Old feat Rammellzee - Mack Facts (Big Dada) 2002
The Rammellzee Vs. K-Rob - Beat Bop Part 2 (Gomma) 2004)
Praxis - Garbage Gods (Columbia Music Ent.) 2008
Praxis - Caution (Columbia Music Ent.) 2008
skit Who The Hell I Am? (Gamma Proforma)
Rammellzee - Brainstorm (Divine Styler remix) (Gamma Proforma) 2015
Rammellzee - How's My Girlfriends (Gamma Proforma) 2015
Rammellzee - Crayzay (Gamma Proforma) 2015
Rammellzee - Brainstorm (Gamma Proforma) 2015
Rammellzee - Fight My Fire ( Edan mix) (Gamma Proforma) 2015
Rammellzee - Paint To Pave The Road (Gamma Proforma) 2015
Music mix from Norway, Sweden & Finland
1 Gadni (Spirit of The Mountain) by Ande Somby (ft Chris Watson)
2 Biberslått by Nils Økland
3 His Eyes Were Suns by Jan Garbarek
4 Prism by Terje Isungset & Arve Henriksen
5 The Beauty of Decay by Eivind Aarset
6 AHOB 1 by Arve Henriksen & Teun Verbruggen
7 Phlegethon (Stream of Fire) by Arne Deforce & Mika Vainio
8 9.2 by Supersilent
9 4'41" by Pan Sonic
10 She Penetrates The Distant Silence by FIRE!
11 Tsirani Tsar by Tigran Hamasyan, Arve Hendriksen, Elvind Aarset & Jan Bang
12 Largo, Op.55: Largo by Terje Rypdal
13 Red Cafe by Erik Honore
14 Morgunstjarna by Trio Mediæval & Arve Henriksen
15 Tacker Herranom, Mats Hansu Polskan by Lena Willemark & Ale Möller
16 Áššogáttis by Sofia Jannok
17 Cuovgi Liekkas (Jah Wobble Remix II) by Mari Boine
18 Three Continents by Jimi Tenor & Tony Allen
Bachir Attar: ghaita, lira, guinbri
Mustapha Attar: ghaita, lira, drums
Ahmed Bakhat: drums, violin
Abdellah Bohkzar: drums
Mohamed el Attar: drums
Bill Laswell: bass
Hamid Drake: drums
Aiyb Dieng: percussion
Graham Hayens: cornet
Peter Apfelbaum: sax, flute
Oz Fritz: live sound
James Dellatacoma: backline
Recorded by Oz Fritz on July 10th, 2015 (Friday) at Gent Jazz Festival
The program was about people who had survived suicide attempts and having been there it really resonated with me. My friend Akemi who is one of the featured people offers some good thoughts for all our survival. If you are in Australia watch it HERE. If you are outside Australia well fire up your VPN
Sue MacGregor reunites five musicians who embraced the anarchy of punk music and created a unique style of their own.
For many young people, Britain in the late 1970s was a place without hope. Unemployment was high. The value of the pound was low and, despite the feminist activity of the early 1970s, the most many girls aspired to was to marry well and look good.
Female role models were hard to fine - especially in music. The only all-girl troupes on Top of the Pops were Legs and Co.
Then punk happened.
Women could dress how they liked, behave how they wanted and develop their own sound without being manipulated by the mostly male gatekeepers of the record industry. Young women who didn't fit the traditional mould of femininity found a new tribe in punk. A place where they could finally be themselves. But the movement attracted fear and aggression from straight society. And few made much money from the short-lived scene.
Sue MacGregor brings together five female punk pioneers.
Gaye Advert, bass player in The Adverts, was described as the first female punk star. But the industry focus on her looks caused animosity in the band.
Toyah Willcox, an aggressive tomboy, found her emotional rebellion in punk and appeared in Derek Jarman's cult punk film Jubilee.
Gina Birch of The Raincoats played her first gig in November 1977 a few weeks after forming her all-female band.
Tessa Pollitt abandoned her A levels to join all girl punk band, The Slits.
Vivien Goldman was in the The Flying Lizards and Features Editor on the weekly music paper, Sounds. She is now a Professor of Punk in New York.
The guests discuss the impact and legacy of their movement.
Producer: Karen Pirie
Presenter: Sue MacGregor
Series Producer: David Prest
A Whistledown production for BBC Radio 4
Guitar - Skip McDonald
Bass - Doug Wimbish
Drums - Keith LeBlanc
Keys + Vox - Bernard Fowler
Mix - Adrian Sherwood
Malcolm X - No Sell Out
Ticking Time Bomb
Mind At The End Of The Tether
Red Hot Mama
Body To Burn
Love Kills Pain On Contact
King Of The Beat
1 Last Night The Moon Came by Jon Hassell
2 Before & Afterlife by Arve Henriksen
3 Sober by Nils Petter Molvær
4 Exile by Loren Mazzacane Connors
5 Waterflower 1 by Kristof Hahn
6 La Fotografie by Ennio Morricone
7 Cruise by Holger Czukay & Rolf Dammers
8 Morning In Berlin by Irmin Schmidt
9 Shadows by Cliff Martinez
10 Haiku 10 by Dalot
11 Moslem Satellite Channel by Muslimgauze
12 Pleasure Centre (Pharaoh's Remix) by CFCF
13 Border State Collapse by Kuedo
14 Dark Days by MLZ
15 Yermande (Prophet 5 Mix) by Mark Ernestus’ Ndagga Rhythm Force
King Cannibal aka Dylan Richards has created 'The Way Of The Ninja', a 74 minute mix of 250 tracks blended, sliced, diced, torn up and finally rendered to audio. A lot of Ninja Tune classics, personal favourites, some slept on and a few exclusive acapellas and instrumentals - not only a Ninja Tune retrospective but the sound of King Cannibal's last 20 years
Arabic calligraphy by Molly Crabapple, translates to ‘Punch Nazis’.
Proceeds go to City Plaza, a squatted, self-managed hotel in Athens which provides dignified housing for refugees. I can see Thor Harris in one of these. Just ordered mine, get yours HERE
02 The Hustle
03 Directions to the Can
04 Poor Bastard
05 Old Masters
07 [banter – physical comedy]
08 In Care Of 8675309
09 [band introductions]
10 The New Cobweb Summer
11 [banter – build character]
14 Relatives #2
15 Harbor Country
16 [encore break]
17 My Blue Wave
18 When You Were Mine [Prince] Download
This unique document is the first time the singles have been presented together and shows the breadth of their influential career, from well loved tracks like Halleluwah, Vitamin C and I Want More to more obscure singles such as Silent Night and Turtles Have Short Legs.
The tracks are all presented in their original single version, many of which have been unavailable for many years and not presented outside of the original 7" release.
The triple vinyl comes packaged in a trifold sleeve, decorated with a beautiful spot gloss lamination, and is designed by the award winning Julian House from Intro, a long time design collaborator of Can's.
CAN - THE SINGLES - TRACKLISTING:
She Brings The Rain
Shikako Maru Ten
Turtles Have Short Legs
I’m So Green
Future Days (Edit)
Dizzy Dizzy (Edit)
Hunters And Collectors (Edit)
Vernal Equinox (Edit)
I Want More
Don’t Say No (Edit)
Hoolah Hoolah (Edit)
This piece celebrates Wire's 40th anniversary, which fell on the 1st of April, the date of their first gig as a four piece in 1977, at The Roxy.
It's a light-hearted, affectionate tribute which takes edits of songs from the first phase of activity ('77 - '80) as a springboard, tapping into various suggested cultural reference points, and interviews with the band, which are threaded through with humourous asides via Max Wall, Peter Cook & Dudley Moore, Monty Python, Steptoe & Son etc., the music of The Beatles, Captain Beefheart, Roxy Music, Small Faces, Frank Ifield, Helen Shapiro and other conceptual/thematic tie-ins.
For example, my way of deciding on what elements of field recording to include were to scan lyrics and draw out some salient aspects. The image of water features a fair bit, a train (Other Window), fireworks (French Film Blurred), shark ('A dorsal fin breaks the water..'), but instead of an actual shark recording, I used some of the Jaws soundtrack.
There were some unintentional synchronicities, such as when Colin is talking about The 15th, and the clip about decimalisation happening on the 15th of February 1971.. which also ties in with the fact that he says 'if I had a pound..' Cut to Taxman, cut to Rob's redundacy, cut to Cream (as Rob was a Ginger Baker fan), cut to Heartbeat, as Rob is the heartbeat of the band... and so on. I used some of Ligeti's music too, suggested by the fact that Colin remarked in Kevin Eden's Wire biography about MikeThorne's breadth of producer's experience encompassing everything from 'Ligeti to X-Ray Spex'.
The decision to limit the Wire source material to the first phase was taken for a number of reasons: firstly, in time-honoured Wire tradition, to keep it simple. Secondly, it's the period where I initially discovered them, via a schoolfriend who lent me a copy of 154, and my head was turned.
The spaces opened up by this record, musically and lyrically, were places I wanted to inhabit. I felt in my element. I was smitten. Gilbert & Lewis' inscrutable and intriguing cover design, coupled with Dave Dragon's art direction created an artifact that seemed to fit the music perfectly, but not in a literal way. I loved the openness and clarity of the Futura Medium font used for the lyrics.
Thirdly, the piece marks the 40th from the point of view of origins rather than an exhaustive overview. Something more chronologically comprehensive would've taken me considerably longer. Anyway, more than enough of a rich seam to mine in the first phase !
The piece functions more like a radio play or film for the ears, with a cast of characters that enter and leave at various points. The song edits are deliberately brief, which ties in with Wire's charcteristically stripped approach. They enter the scene, then exit stage left. There are jump cuts, cross-fades, subtle layerings, superimpositions, cross-hatches, buried fragments, partial echoes, glimpses, traces, imprints - parts of which will not be immediatley obvious on first listen. It's woven densely as a rich plunderphonic tapestry. A filmic trawl through various points and connections, a sonic constellation.
The title functions on a number of levels for me: on a basic level, it refers to the idea of a radio play being literally scenes you don't see, but hear. The strip-mining and re-combining of older Wire material to make 'new' tunes – ore from yore - could be taken as scenes unseen (harvesting the Harvest years). On a general level, the orchestration of all sources creates unique scenes.
There are also the theatrical echoes within the cover of Chairs Missing, with curtains framing the flower adorned table, lyrical echoes, 'never lacked a sense of theatre..', 'please don't turn a deaf ear..' 'symphonic in persuasion' and the 'unseen ruler'. Wire also famously flirted with absurdist theatrical elements at the end of the first phase, as captured on the Document & Eyewitness live album + Bovine Oboes (for Bruce Gilbert)
From sixty seconds to sixteen minutes and sixteen seconds, this piece made to mark Bruce's 70th moves away from my approach to the one I did for his 60th. It mines a number of sources mentioned in Kevin Eden's 1991 Wire biography, Everybody Loves A History - music he grew up with, the songs of Lena Horne and Frank Sinatra, and the music, pre-Wire, that influenced him in his 20s, such as Captain Beefheart and Roxy Music. I used these as a springboard to create electronic soundscapes, twisting and stretching edits and loops I'd made in Samplr on my iPad. Some edits were left recognisable, and form some of the rhythmic and melodic content, as well as serving as cultural reference points. The title is made from two halves of two anagrams derived from Bruce's albums Ab Ovo and In Esse. As a gift for Bruce, the piece was put on a 3” CDR sprayed white, with a cover design aping the periodic table, with the element number being Bruce's age, and the scientific number being his birthdate. Not sure how I hit on the idea, but there's a nice link with the fact that Bruce's album, Ordier, was released on US label Table Of The Elements.
Bruce had a fondness for war movies in the 70s, so that gave me free reign to explore various war noises and related references, including the theme tune from the 70s TV series The World At War. I wanted to broaden the mise-en-scene of the piece by including ads and sig. tunes from some 70s programmes, the shipping forecast, Monty Python, and some of my own field recordings to further enrich this plunderphonic tapestry. Some points of reference in terms of compositional methodology for me were elements of John Moran's 'The Manson Family, An Opera', Nurse With Wound's 'Sylvie & Babs', and early 80s Touch compilation tapes, with their penchant for odd confections of media snippets, loops and field recordings. Though not a conscious ploy, one of the Beefheart songs that I used, Veteran's Day Poppy, forms an interesting link with the WWII references.
Some of the TV sig. tunes and ads get a bit of a space theme going, what with the appearance of The Clangers, Star Trek and Dr. Who, as well as the spoof sci-fi ad for a popular freeze-dried potato product, Smash (also a post-Bruce Wire song title). The William Shatner voice-over snippets, “to explore strange new worlds”, and “to boldly go where no man has gone before”, can be taken as a lighthearted allusion to Bruce's sonic explorations. Cross-hatching some of the Sinatra material with the Beefheart songs threw up some fruitful collisions – a drum break from Moonlight On Vermont happened to nicely underscore a vocal snippet from Moonlight In Vermont, sung by Linda Ronstadt (born same year as Bruce). Amongst the studio goofery from Beefheart's Trout Mask Replica used in the piece, the “I run on beans” edit was echoed with a 70s ad for Heinz beans (“Don't be mean with the beans Mum, beans means Heinz !”). Some of the elements in this piece are woven a bit deeper in the mix, and won't necessarily reveal themselves on first listen. Other elements move around the stereo field to create a sense of momentum in a soundworld I like to think of more in terms of a radio play or cinema for the ears. It must be heard on a decent hi fi with good stereo separation, or on good headphones – not computer speakers…
Less a critical survey than a manifesto for the neuron-altering powers of “breakbeat science,” this ingenious book traces the development of sampladelia from the “jazz fission” era of ’68-’75 (with excellent analyses of George Russell’s and Herbie Hancock’s sonic experiments), through the Parliament/Funkadelic groovescapes of the late ’70s (including close scrutiny of Pedro Bell’s subversive cover art), through Electro (early ’80s synth oriented hip hop) and Detroit Techno, to the present Jungle milieu of time stretching and spatio-acoustics. Eschewing a traditional music-crit vocabulary in favor of a riffing, neologistic verbal poetics, Eshun perfectly captures the sci-fi convolutions of the music he describes, and makes an infectious case for the birth of a new audio-paradigm PDF
The style of the ring is Egyptian with the Three Greek Letters on the back – Iota, Alpha, Omega which fits the Egyptian toning of I – A – O.
I bought this ring from UNIQUE2U who was selling the Gerald Gardner Witches Mill Collection when I contacted him over 10 years ago to buy this ring
The following links were sent to me when I asked about the authenticity regarding the ring from the previous owner's estate Tim Moroney who's website is still running: http://tim-maroney.livejournal.com/45789.html - http://womzilla.livejournal.com/16648.html and may note that some links are missing.
Historically the ring was given by Aleister Crowley to Austin Osman Spare's widow then sold to The Park Antique Centre in Nottingham - the original letter of authenticity is included.
The pair seemed have a dynamic relationship and together composed Now for Reality which is included. The journey was a Celestial and Bestial identification using forces of Sexuality navigated by the operator who has developed themselves to the point of having found their True Identity and True Will.
A copy of the joint work by Crowley and Spare “NOW FOR REALITY” is being included to compliment the ring $30,000 AUD. Hmmm
1 Spiritual by Tom Verlaine
2 Snow by KTL
3 Evil Spirits / Angel Dust by Techno Animal
4 With Tired Eyes, Tired Minds, Tired Souls, We Slept (Peel Session) by Explosions In The Sky
5 V (Ambient/Ruin) by Gravetemple
6 Totally Boxed In by Ry Cooder
7 City of Fallen Angels by The Bug VS Earth
8 Glistening Glyndebourne by John Martyn