Friday, 12 October 2012

Donnie & Joe Emerson

Baby’ has been a staple on just about every playlist/mixtape I’ve assembled in the past 3 years. It is nothing short of sublime. - Ariel Pink

Thursday, 11 October 2012

The Artist Taxi Driver: BBC Jimmy Savile and the cover up of the NHS bill

Jimmy Savile: Cold, aggressive, menacing

Ex-York nurse saw Jimmy Savile ‘molest’ patient

Long time Clash roadie Barry Baker finally breaks his silence about his time with The Clash.
HERE
Pic above shows Johnny Green and Baker filming the 'Bankrobber' video, and yes the London plods questioned them that day thinking they were real bank robbers!!!

♪♫ The Rolling Stones - Doom & Gloom

'Doom And Gloom' marks the first time that Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood have been in the studio together for seven years. The single was recorded in Paris and produced by longtime Rolling Stones producer Don Was.

♪♫ Dave Graney & the MistLY - We Need A Champion!

Dave McKean: Sonnet 138

Liquid Sky (1982)

Aliens! Drugs! Sex and Fashion!
Info
Hmmm! I saw this film numerous times after vists to the LysergicLongue when I lived in Am*dam. To be honest I think a head full of acid would help...

Four Tet 45 min Boiler Room DJ Set

Bonus:

Freed Pussy Riot member Yekaterina Samutsevich gives her first interview CNN's Christiane Amanpour

♪♫ Fun Boy Three & Bananarama - It Ain't What You Do

1982 live vocal performance of 'It Ain't What You Do' on OTT

1982 live vocal TV performance of 'It Ain't What You Do'. Not sure what show this was on

Beck - NYC 73 - 78 (from the album REWORK_Philip Glass remixed)

First Listen: REWORK_Philip Glass Remixed

It makes sense that Philip Glass' 75th-birthday festivities would stretch out as long as they have, his work subjected to celebratory tributes, re-examinations and performances more than eight months after the big day back in January. For as often as Glass is pigeonholed as a minimalist, his real trademark is his work's malleability and sheer volume: Glass writes operas, film scores, theater pieces and everything in between, stretched out over the course of untold archived hours. So, while many tribute-album projects draw from a limited and fairly predictable archive of greatest hits, an album paying tribute to Glass — in this case re-envisioning his work as a series of 12 remixes in 80-plus minutes — could head in virtually any direction imaginable.
REWORK_Philip Glass Remixed usually meets somewhere in the middle between calming ambient pieces and kinetic electronic contraptions, with a frequent emphasis on pastiche that suits both its subject and its highest-profile guest participants. Beck, for example, stitches together more than 20 Glass works in as many minutes, living up to his stated desire to present a distillation of the composer's entire career as a continuum; the result moves through many phases, with frequently gorgeous results. Dan Deacon, who knows his way around compositions that swirl and clatter hypnotically, constructs "Alight Spiral Snip" around repetitive dissonance before letting the piece give way to smeared-out beauty. Tyondai Braxton gives "Rubric" a toy-box peppiness redolent of his own compositions, while Icelandic composer Johann Johannsson — who knows his way around works both orchestral and experimental — crafts what sounds like an especially inventive bit of portentous film score in "Protest."
It's a testament to Glass' distinctive genius that these 12 varied approaches — and remix artists as diverse as Pantha Du Prince, Cornelius and Efterklang's Peter Broderick — hang together collectively as well as they do. And, of course, REWORK doesn't stop there: It's getting its own interactive app — designed by Scott Snibbe Studio, which worked on Bjork's Biophilia project — that gives these songs a visual stamp and lets users emulate Glass themselves. Which is, of course, an appropriate way to give these second-generation pieces yet more lives beyond what Glass himself envisioned. Why should the music stop breathing and evolving once these folks are done with it?
Stephen Thompson @'npr'

'Rework_Philip Glass Remixed'

Johnny & Bobby

A Chat With Iconoclast Adrian Sherwood On Creative Integrity, Politics, Healthcare And What’s Really Important In Life

What do you think about EDM and the subsequent backlash and in fighting?
The bottom line is the lowest common denominator will always be popular. Whatever you wanna call it, we call it “butt music”—butt, butt, butt. That’s the universal sound, from Argentina to Germany to New York. So the Swedish House Mafia, Paul Oakenfeld, whatever—that’s still massive. Those DJs make a fortune, playing other people’s music mostly. They’re like little gods in Ibiza, and that’s what people want. It’s of absolutely no interest whatsoever to me. My friend Adamski [who plays synths on a couple of tracks on Survival & Resistance] he was doing that stuff. He’s doing very interesting electronic Waltz music at the moment. He hasn’t put it out yet but he’s doing interesting stuff. At the end of the day, he and people who make that stuff, they really love it. But I could not bear to be locked in a room hearing four on the floor foot drums for more than an hour. Even if I was on drugs. Maybe if I was on a lot of drugs. But I’m too old for drugs. That kind of stuff has a place, but it’s not on my turntable.