Tuesday, 7 June 2011
Classic Albums - Screamadelica (Primal Scream)
Primal Scream's seminal album Screamadelica was released in 1991, and synthesized the band's rock 'n' roll roots with the dance culture of that time; for many, the album's sound and imagery came to be regarded as quintessential symbols of the acid house era, perfectly catching the spirit and mood of the early 90s.
Using rare archive footage and special performances, this film tells the story of Screamadelica and its hit singles and dance anthems Loaded, Movin' On Up, Come Together and Don't Fight It, Feel It. From the formation of the band in Glasgow to winning the first-ever Mercury prize, the band members explain the record's inception with insights from main producer Andrew Weatherall, Creation Records founder Alan McGee and many others involved with or inspired by this joyful record.
Screamadelica both defines a generation and transcends its time, and is a true Classic Album.
‘Father Forgets’ (W. Livingston Larned)
Listen, son: I am saying this as you lie asleep, one little paw crumpled under your cheek and the blond curls stickily wet on your damp forehead. I have stolen into your room alone. Just a few minutes ago, as I sat reading my paper in the library, a stifling wave of remorse swept over me. Guiltily I came to your bedside.
There are the things I was thinking, son: I had been cross to you. I scolded you as you were dressing for school because you gave your face merely a dab with a towel. I took you to task for not cleaning your shoes. I called out angrily when you threw some of your things on the floor.
At breakfast I found fault, too. You spilled things. You gulped down your food. You put your elbows on the table. You spread butter too thick on your bread. And as you started off to play and I made for my train, you turned and waved a hand and called, “Goodbye, Daddy!” and I frowned, and said in reply, “Hold your shoulders back!”
Then it began all over again in the late afternoon. As I came up the road I spied you, down on your knees, playing marbles. There were holes in your stockings. I humiliated you before your boyfriends by marching you ahead of me to the house. Stockings were expensive-and if you had to buy them you would be more careful! Imagine that, son, from a father!
Do you remember, later, when I was reading in the library, how you came in timidly, with a sort of hurt look in your eyes? When I glanced up over my paper, impatient at the interruption, you hesitated at the door. “What is it you want?” I snapped.
You said nothing, but ran across in one tempestuous plunge, and threw your arms around my neck and kissed me, and your small arms tightened with an affection that God had set blooming in your heart and which even neglect could not wither. And then you were gone, pattering up the stairs.
Well, son, it was shortly afterwards that my paper slipped from my hands and a terrible sickening fear came over me. What has habit been doing to me? The habit of finding fault, of reprimanding-this was my reward to you for being a boy. It was not that I did not love you; it was that I expected too much of youth. I was measuring you by the yardstick of my own years.
And there was so much that was good and fine and true in your character. The little heart of you was as big as the dawn itself over the wide hills. This was shown by your spontaneous impulse to rush in and kiss me good night. Nothing else matters tonight, son. I have come to your bedside in the darkness, and I have knelt there, ashamed!
It is feeble atonement; I know you would not understand these things if I told them to you during your waking hours. But tomorrow I will be a real daddy! I will chum with you, and suffer when you suffer, and laugh when you laugh. I will bite my tongue when impatient words come. I will keep saying as if it were a ritual: “He is nothing but a boy-a little boy!”
I am afraid I have visualized you as a man. Yet as I see you now, son, crumpled and weary in your cot, I see that you are still a baby. Yesterday you were in your mother’s arms, your head on her shoulder. I have asked too much, too much.
ViaWell, son, it was shortly afterwards that my paper slipped from my hands and a terrible sickening fear came over me. What has habit been doing to me? The habit of finding fault, of reprimanding-this was my reward to you for being a boy. It was not that I did not love you; it was that I expected too much of youth. I was measuring you by the yardstick of my own years.
And there was so much that was good and fine and true in your character. The little heart of you was as big as the dawn itself over the wide hills. This was shown by your spontaneous impulse to rush in and kiss me good night. Nothing else matters tonight, son. I have come to your bedside in the darkness, and I have knelt there, ashamed!
It is feeble atonement; I know you would not understand these things if I told them to you during your waking hours. But tomorrow I will be a real daddy! I will chum with you, and suffer when you suffer, and laugh when you laugh. I will bite my tongue when impatient words come. I will keep saying as if it were a ritual: “He is nothing but a boy-a little boy!”
I am afraid I have visualized you as a man. Yet as I see you now, son, crumpled and weary in your cot, I see that you are still a baby. Yesterday you were in your mother’s arms, your head on her shoulder. I have asked too much, too much.
(For Spaceboy! XXX)
Reading by Dale Carnegie
Reading by Dale Carnegie
For Those About To Rock The Boat
"We got talking and they said yes there were some certain songs that worked and certain songs that didn't in terms of an actual change in the behaviour of the sharks.
"I started going through my albums and AC/DC was something that really hit the mark.
"Their behaviour was more investigative, more inquisitive and a lot less aggressive - they actually came past in a couple of occasions when we had the speaker in the water and rubbed their face along the speaker which was really bizarre."
@ABC Australia
Shackleton/Vengeance Tenfold - South Devon line
Sounduk is delighted to announce that unique British bass producer Shackleton will collaborate with his original musical partner, spoken word artist Vengeance Tenfold, to present his own distinctive vision of a journey through some very special parts of Devon for the second in our Sonic Journeys series.
In partnership with Beaford Arts and The Dartington Hall Trust, sounduk has commissioned Shackleton and Vengeance Tenfold to create and record an exclusive new Sonic Journey in response to and inspired by sections of two of the most beautiful stretches of train line in the South West – using part of the main line between Exeter and Totnes, and part of the Tarka line between Exeter and Barnstaple.
In partnership with Beaford Arts and The Dartington Hall Trust, sounduk has commissioned Shackleton and Vengeance Tenfold to create and record an exclusive new Sonic Journey in response to and inspired by sections of two of the most beautiful stretches of train line in the South West – using part of the main line between Exeter and Totnes, and part of the Tarka line between Exeter and Barnstaple.
Edge Of England: A Sonic Journey With Shackleton & Vengeance Tenfold
Ariel Pink's Haunted Graffiti - Witchhunt Suite for WWIII
The August 18th, 2008 episode of Talk's Cheap featured a live session from Ariel Pink's Haunted Graffiti. Ariel Pink stopped by the WFMU studios backed by Kenny Gilmore on keys/guitar, Jimi Hey on drums, Tim Koh on bass, and Cole M. Greif-Neill on guitar. Members of this all-star lineup have also played in Lilys, White Magic, Lavender Diamond, Devendra Bahnhardt, Cibo Matto, and the list goes on. This well-seasoned group brought the Haunted Graffiti to life with professional attitude in the midst of their "Thanks Mom I'm Dead" tour.
Engineered 8/1/08 by Gil Shuster
Some post-production by Jason (I ran it thru my tape deck)
Via
The Bad Plus invited by the Frankfurt Radio Bigband 14/05/2011
Ethan Iverson (Piano)
Reid Anderson (Bass)
Dave King (Drums)
Frankfurt Radio Bigband directed by Jim McNeely
http://www.thebadplus.com/
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