Monday, 19 August 2019

Bonnie Prince Billy Mixtapes Vols 1-4

1. O How I Enjoy the Light / Will New Comp 7 Songs
2. Goat and Ram / Bonny Sweeny Roughs + some mixes
3. Brother Warrior / Kate Wolf
4. Molly Baun / with Harem Scarem / the Birnham Sessions 
5. King at Night / with The Picket Line / Practice Session 5.2.08
6. No Time To Cry / Clifton Center, Louisville 12.17.15
7. Wolf Among Wolves / Bonny Roughs 8.02
8. Strange Form of Life / Radio Inter. Paris, France "White Session" 1.20.09
9. Weaker Solider
10. Open Up / David Byrne Demo by BPB
11. Rider / Joya

1. All Gone / Will Oldham Solo
2. Better Than I Used To Be / Barely Regal EP
3. Grand Dark Feeling of Emptiness / "Tripping With Caveh" Soundtrack
4. So Everyone / Lie Down In The Light Demos
5. You Will Miss Me When I Burn / Greatest Palace Rough Mix
6. O Lord Are You In Need? / Lost Blues
7. Ease Down the Road / PBS-FM Melbourne, Australia "Studio 5 Live" 
8. Let It Be Me / Takes Blood to Make Blood EP
9. Better Days / Wolf of the Cosmos
10. Walking the Dog / Will & Dawn What The Brothers Sang Roughs
11. No Quarter / Oldham EP
12. Ohio River Boat Song / Lost Blues Palace Music (Revised) 3.8.99
13. Here Today, Gone Tomorrow / Bonny Billy Outtakes

1. Omaha / Bonny Tour 06 Roughs
2. Wouldnt It Be Nice / Beach Boys Cover / Rough Mix (Oldham Brothers)
3. Quail and Dumplings / 10.23.11 CCVF Guimaraes, Portugal
4. All These Vicious Dogs / 3.2002
5. Little Bridges / Vocal Only for Angie Hart "Eat My Shadow" LP
6. Idumaea / BPB + MS One Music 8.23.05
7. Lord of the Manor > I Wonder If I Care As Much / Takes Blood to Make Blood EP
8. The Way / PBS-FM Melbourne, Australia 9.23.04 "Studio5 Live"
9. His Hands / for Candi
10. How About Thank You / "White Session" Radio International Paris 1.20.09
11. For Every Field There's A Mole / LIDL Demos
1. May It Always Be / Bonny Billy 2000 Pre-Master (Ease Down The Road)
2. All The Trees of the Field Will Clap Their Hands/Sufjan Stevens Cover for Seven Swans Reimagined 
3. Pretty Saro / Oldham EP
4. Da Piccolissimi Pezzi / Vocals Only for Numero 6
5. Horses / 7.4.08 Rudolstadt Festival, Germany
6. Barcelona > 66 / Live
7. Do You Want to Be Buried With My People? / Scout Niblett mixes 5.12.07
8. Cycles / (selfish) Will Solo w/ Acoustic Guitar (Ask Forgiveness Demos)
9. There Are Worse Things I Could Do / Headliners Music Hall 12.20.13
10. Jerusalem (dry version) / Palace 12.94 Viva Ultra

1. Come In / "Come In/Trudy Dies" (Palace) 7" (1994)
2. Storms / Matt Sweeney - Bonnie 'Prince' Billy Split 7" with Billy Gibbons (2012)
3. Major March / Amalgamated Sons of Rest (2002)
4. Solemn 119 / Marquis de Tren and Bonny Billy - Solemns (2013)
5. Champion / Chijimi (2009)
6. No Such As What I Want / Black Dissimulation / No Such As What I Want 7" (1998)
7. The Best of Folks / Split 7" with Naked Shortsellers (2018) 
8. Song For The New Breed / Louisville Sonic Imprint (2000)
9. You Win / "Midday / You Win" Bonnie Prince Billy and the Cairo Gang 7" (2010)
10. Death To Everyone / Pond Scum (2016)
11. In Spite of Ourselves / Susanna and Bonny Billy Sing . . . 7" (2009)
12. Island Brothers / "Island Brothers / New Wonder" BPB + the Cairo Gang (2011)

1. Thunder Road / Tortoise and Bonnie 'Prince' Billy - The Brave and the Bold (2006)
2. Life In Muscle / "Must Be Blind / Life In Muscle" Matt Sweeney + BPB (2011)
3. Beware Your Only Friend / It Happened Here - Live At Landlocked 7" RSD (2010)
4. Whipped / B-Sides from Time To Be Clear 7" (2010)
5. You Have Been Seen / "Conquer / You Have Been Seen" 7" (2018)
6. Am I Not A Soldier / Alexis Taylor vs. Bonnie 'Prince' Billy Am I Not A Weaker Soldier 7" (2014)
7. I See A Darkness / Will Oldham - Songs of Love and Horror (2018) LP
8. Remember the Terror Time / Afternoon (2012) 10"
9. Might As Well Smile / Tip the Glass and Feel the Bottom 10" (2015)
10. Don't I Look Good Today? / Palace Brothers - Louisville Sluggers Vol. 3 (1993)
11. Suddenly The Darkness / Bonnie 'Prince Billy and Phantom Family Halo "The Mindeater" 10" (2011)
12. Blue Boy / "Bonnie Blue Billy"


1. Easy Does It / Roughs for Lie Down In The Light
2. We All Us Three Will Ride / Final Mixes 2002 
3. Costa Rica / Will & Matt Sweeney Recorded 10.6.07 by Don Fleming on the Lomax Nagra Upper Mountain Studio, New Jersey
4. Troublesome Houses / 3.5.2012 Sydney Opera House
5. John the Baptist / Bonny Tour 06 Roughs
6. World's Greatest > Rich Wife Full of Happiness / 6.23.2008 Lucerna Music Bar, Prague 
7. Work Hard, Play Hard / All Mix Greatest Palace Music
8. Where Is The Puzzle? / Daytrotter
9. Black Ice Cream / LDIL Demos
10. Brokedown Palace / Pebbles & Ripples 2004
11. Signifying Wolf / Dawn's Tape
1. My Only Friend /Stroke - Songs for Chris Knox 2009
2. Singer's Grave, A Sea of Sheep/Rec'd @The Beach House, Nashville/ Singer's Grave
3. I See A Darkness /12.13.01 "Totally Wired" 3PBS-FM Melbourne, Australia
4. Madeline Mary / 4.8.01 Club 2 Munich, Germany
5. Death to Everyone / 3.18.2007 Ellokal, Zurich, Switzerland
6. Stable Will / 9.8.94 Kaserne, Basel, Switzerland
7. Antagonism / Practice 2
8. Soul Rebel / Bonny Billy - "Live Raga" Ottobar, Baltimore, Maryland 2.1.01
9. The Way I Am / Ask Forgiveness


Mind Melt

Frightened Rabbit - Tiny Changes tribute album documentary

T in the Park (2016)

Glastonbury (2016)

The Bridge 909 in Studio (2016)

AVC Session and Interview (2018)

Jefferson Airplane - If You Feel Like China Breaking (Musikhalle Hamburg 05/9/68)

Uncle Sam Blues (Woodstock 1969)

We Can Be Together (Live in studio 1970)

Eskimo Blue Day (Live 1970)

Fly Jefferson Airplane documentary

Jean-Luc Cornec's Telephone Sheep from his installation „TribuT“


Monday, 12 August 2019

Loulou Picasso

These have recently been posted on Loulou's Facebook page and he did tell me the other day that there will be a book of this recent work to be published in November

Anyone want to lend me (AUS) $21,011.13?

Keith Haring . . . actually got down on his knees because of my height and drew this [light bulb character]. I could feel him etching against my back. This is not an image that you see replicated if you were to look at [Haring's] body of work, so it really speaks to his improvisation and the spirit of where we were at that particular time on that night.

 - Joy Bouldin. 

Marker pen and ink on a black leather jacket (1984) 

An exceptional collaboration artwork. Keith Haring contributes three drawings, a dark green figure diving head first from the right lapel, a dark green snake on the left lapel and a larger light green dancing lightbulb man to the jacket back; Futura adds a large old school tag above Haring in white on the back, a spraycan character drawing underneath Haring on the right lapel, and the scribble tag in green on the left lapel; Fab 5 Freddy takes the left arm in green and dates his tag 1984; Cey (see also this) draws a stylish "C" outline in silver, dated 1984 to the back and tags in silver on the left lapel; Kano (who went on to be one of the most influential A&R representatives in hip hop, working for Tommy Boy, Elektra and Warner) draws a character and tags "Kano love" & "Fresh Kidd" in silver on the back of the right sleeve; Stash contributes several drawings to the back in green including a character and TV screen, also a "destiny" (DestroyEverySubwayTrainInNewYork) outline in green to the bottom left front and possibly the "joystick" outline in pink and green above (although this has futura-esque highlights and elements); Energy (NRG) and Africa131 (Cmor / Afrochild) also tag. There is a silver full body character underneath the front lapel and a couple of other tags that as yet we are unable to attribute. An exceptional artwork bringing together the elite movers and shakers of the 1980s art and club scene. This was Joy's favourite jacket and the one she considered the most important. Provenance: Joy "Joystick" Bouldin. Joy was a key figure in the New York club scene of the early 1980s. Aged 18, she arrived in New York and, eschewing her plans to go to college, found work at the Mudd Club. Here she was befriended by Andy Warhol, who introduced her to his inner circle, including Jean-Michel Basquiat (for whom she modelled) and Keith Haring. In 1982 she quit her job in a law firm to "work the elevator" at Danceteria. Deciding who to let in to the private club gave her a key position at the forefront of the emerging culture of the time, positioned at the intersection between fashion, Pop Art, Hip Hop and graffiti. Like key door-people everywhere, Joy knew everyone and everyone knew her. She came up with the idea of having the best known and most applauded graffiti writers, pop artists and musicians tag or draw on her clothing as they came in and out of the club. In doing so she created a wearable original artwork merging fashion, art and music that now also serves as a significant historical document
For sale
Actually I only need to borrow 20,593.28 Australian dollars!

Sunday, 11 August 2019

Everybody in the Place: an Incomplete History of Britain 1984 - 1992

Acid house is often portrayed as a movement that came out of the blue, inspired by little more than a handful of London-based DJs discovering ecstasy on a 1987 holiday to Ibiza. In truth, the explosion of acid house and rave in the UK was a reaction to a much wider and deeper set of fault lines in British culture, stretching from the heart of the city to the furthest reaches of the countryside, cutting across previously impregnable boundaries of class, identity and geography.
With Everybody in the Place, the Turner Prize-winning artist Jeremy Deller upturns popular notions of rave and acid house, situating them at the very centre of the seismic social changes that reshaped 1980s Britain. Rare and unseen archive materials map the journey from protest movements to abandoned warehouse raves, the white heat of industry bleeding into the chaotic release of the dancefloor.
We join an A-level politics class as they discover these stories for the first time, viewing the story of acid house from the perspective of a generation for whom it is already ancient history. We see how rave culture owes as much to the Battle of Orgreave and the underground gay clubs of Chicago as it does to shifts in musical style: not merely a cultural gesture, but the fulcrum for a generational shift in British identity, linking industrial histories and radical action to the wider expanses of a post-industrial future.