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The Sweet Taste Of Defeat

British glam-rock band The Sweet (best known for songs like Block Buster! and The Ballroom Blitz) seemed pretty damn bitter five years ago when guitarist Andy Scott sued an Austrian man, Dietmar Huber, for selling a single used CD on eBay at a price of one euro. At first, he claimed it was a pirated copy and asked for a €2000 fee, but Huber refused, insisting it was a legally purchased disc that he had every right to sell. Amazingly, Scott kept pushing, and went to court asking for €36,000. When Huber proved in court that it was his CD, Scott still didn't give up! He changed his claim to say he owned a copyright on the name, and all used sales had to be authorized by him.
Huber, as the victim of an utterly ridiculous string of legal attacks, continued to fight back, and now Austria's highest court has confirmed that he did nothing wrong and the band must pay his legal fees to the tune of £50,000.
This isn't really surprising—most jurisdictions recognize that it's always okay to re-sell something you legally purchased. Of course, we do see some companies pushing back against this, most notoriously video game developers. But even they'd (probably) be smarter than to engage in such a Quixotic legal quest. And that's the surprising part here: that the guitarist kicked off this circus and forced it to keep escalating. Used records have been a much-loved part of the music world for decades—did he think he was going to change all that? More importantly, does he think this is going to help him sell more albums? In reality, I'd guess people are going to be a lot more reluctant to buy a Sweet CD in the future, since they know they might get sued if they want to re-sell it later (because, given his dogged pursuit of this dead-end lawsuit, I am not optimistic that Scott has learned his lesson).
Leigh Beadon @'techdirt'

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Electrical Banana

I have always been a poor visualizer. Words, even the pregnant words of poets, do not evoke pictures in my mind. No hypnagogic visions greet me on the verge of sleep. When I recall something, the memory does not present itself to me as a vividly seen event or object. By an effort of the will, I can evoke a not very vivid image of what happened yesterday afternoon, of how the Lungarno used to look before the bridges were destroyed, of the Bayswater Road when the only buses were green and tiny and drawn by aged horses at three and a half miles an hour. But such images have little substance and absolutely no autonomous life of their own. They stand to real, perceived objects in the same relation as Homer’s ghosts stood to the men of flesh and blood, who came to visit them in the shades … This was the world—a poor thing but my own—which I expected to see transformed into something completely unlike itself.

So wrote Aldous Huxley just before an afternoon mescaline trip, his first, in 1954. The psychedelic sixties would take Huxley’s message to heart, opening new doors of perception while under the influence. But for graphic designer Heinz Edelmann, Huxley’s journalistic exploration was mescaline enough. After reading the British novelist’s account, Edelmann thought, “Well, I don’t need mescaline. I can do that stone cold sober.” If you don’t know who Edelmann is, have a look at Yellow Submarine: he created the look of the film and designed all the characters...
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Sunn O))) stage set up

(Click to enlarge)
Sunn O)))'s stage set-up for their All Tomorrow's Parties gig tomorrow night. KOKO London shall tremble...
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Anonymous ‏@AnonyOps

#Apple iOS6 #Facebook integration - now you can loose both personal privacy AND control over your devices in one, convenient way! ☻

Folk The Banks

Via Occupation Records:
Folk the Banks is now available. Pay What You Can Afford for digital album download plus CDs, vinyls, artwork prints and T-shirts! [...] with album artwork by Jamie Reid - famed for the iconic artwork of the Sex Pistols' "God Save the Queen" single
The album features original and exclusive tracks from Ani DiFranco, Billy Bragg, Chris T-T, Get Cape. Wear Cape. Fly, Peggy Seeger, Ryan Harvey and Tao Rodriguez-Seeger.
With all profits from the record label donated to the Occupy movement, other artists on the Folk the Banks album include The Nightwatchman: Tom Morello, Martha Wainright, Anais Mitchell, Show of Hands, King Blues, Leon Rosselson, The Young-uns, Oysterband, Chumbawumba, Jim Moray and Eddie Morton.
 

(Thanx Helen!)

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First Listen: Neneh Cherry And The Thing - 'The Cherry Thing'

At a glance, the script for The Cherry Thing might have been recycled: A global pop star returns from a long hiatus with an album of covers, backed by a jazz band. But nothing about this record's sound — or its backstory, for that matter — even remotely suggests Rod Stewart, Linda Ronstadt or Paul McCartney singing standards.
Subverting the starring role is the singer and rapper Neneh Cherry, whose hors categorie dance-pop ("Buffalo Stance," etc.) earned her 15 minutes of international fame in the late 1980s and '90s. In the time since she released her last solo LP in 1996, three Norwegian and Swedish free-jazz musicians formed a remarkably versatile band. The Thing — with Mats Gustafsson on saxophones, Ingebrigt Haker Flaten on bass, Paal Nilssen-Love on drums — is as happy trading blows with fire-breathing saxophonists as it is rocking out on a PJ Harvey tune or "Louie Louie."
This collaboration dates back only two years, but its ties run deep. Neneh Cherry, whose mother is Swedish, grew up largely in Sweden and the U.S.; The Thing's members are from Scandinavia and have racked up many American collaborators (Flaten currently lives in Austin, Texas). Neneh Cherry's discography lists work with punk rockers, trip-hop pioneers and African pop icons; The Thing is known for its unmediated punk energy and its recordings with The Cato Salsa Experience, a Swedish rock band. Cherry's stepfather is the American improvising cornetist Don Cherry, and she spent much of her childhood touring with him and his fellow jazz legends; The Thing initially met expressly to play Don Cherry compositions, and named itself after one of his songs.
So it makes sense that they cover electronic punk duo Suicide (the beautiful "Dream Baby Dream"), English vocalist and songwriter Martina Topley-Bird (the driving "Too Tough to Die"), hard-rock band The Stooges ("Dirt"), prolix rapper MF Doom (an interpolation of the lyrics of "Accordion"). There are also fetching originals from Cherry and Gustafsson, as well as an inventive reconfiguration of a Don Cherry theme ("Golden Heart"). It's a wild record, in an expect-the-unexpected sort of way; it's also a homemade record, in that its arrangements feel spontaneous and minimally varnished by studio polish. It's a raw record, in the way that a go-anywhere singer encounters an upright bass, a baritone saxophone and an actual drum set.
Out June 19, The Cherry Thing winds down with "What Reason," a remarkably appropriate choice for the strengths and pre-history of this band. It's an aching, sawing melody; it was also one of the few vocal features penned by free-jazz trailblazer Ornette Coleman, a close associate of Don Cherry. It closes here on a peaceful a cappella strain: "Only when I'm without you," Neneh Cherry sings. Then, a most present silence.
Patrick Jarenwattananon @'npr'

Hear 'The Cherry Thing' In Its Entirety

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