The Police - Outlandos D'Amour (Remastered 2003)
38 minutes ago
Tuesday, 12 April 2011
REpost: 'Grutzi Elvis'
James Chance by Bazooka
James Chance and the late Anya Phillips.
James Chance & The Pill Factory with 'That's When Your Heartaches Begin' (EP)
You can get it
HERE
Crimestoppers - A message from BRMC
STOLEN GUITARS - GREAT NEWS:
Back in January of 2010 we reported that there was a break in at one of BRMC's storage lockers and all of Michel Been's vintage guitars and keep-sakes were stolen. We are thrilled to report that over a year later, almost all the stolen items have been recovered!
A fan of BRMC and The Call noticed one of the guitars for sale on eBay that turned out to be Michael's signature Ampeg Fretless Bass and through that information and with the aid of the LAPD and some other helpful sources, all the stolen instruments have been returned and the prime suspect apprehended.
The band would like to thank everyone out there that helped scour the internet and spread the word of this theft and are so appreciative that these items have made it home.
If it hadn't been for all of you, these instruments would've probably been lost forever.
AAAH! - A happy ending, just what this blog needs...
♪♫ Patti Smith - Horses/Hey Joe (OGWT 1976)
In my head I remember watching this on a cold Autumn Glasgow night w/ my old man back in the day...He fugn HATED this. "Whywouldahwimmenwannabeahman?" etcfugnetc.
As a very insecure 16 year old my world was NEVER the same again...
the power of rock'n'roll eh?
Of course the truth of the matter was that HE was much more scared of Ms Smith than I was!
As a very insecure 16 year old my world was NEVER the same again...
the power of rock'n'roll eh?
Of course the truth of the matter was that HE was much more scared of Ms Smith than I was!
Home Is Where the Hatred Is
A junkie walking through the twilight
I'm on my way home
I left three days ago, but no one seems to know i'm gone
Home is where the hatred is
Home is filled with pain and it,
Might not be such a bad idea if i never, never went home again
Stand as far away from me as you can and ask me why
Hang on to your rosary beads
Close your eyes to watch me die
You keep saying, kick it, quit it, kick it, quit it
God, but did you ever try
To turn your sick soul inside out
So that the world, so that the world
Can watch you die
Home is where I live inside my white powder dreams
Home was once an empty vacuum that's filled now with my silent screams
Home is where the needle marks
Try to heal my broken heart
And it might not be such a bad idea if I never, if I never went home again
Home again
Home again
Home again
Kick it, quit it
Kick it, quit it
Kick it, quit it
Kick it, can't go home again
HERE
(Contains versions by Gil Scott-Heron, Esther Phillips and Anita Lane)
I'm on my way home
I left three days ago, but no one seems to know i'm gone
Home is where the hatred is
Home is filled with pain and it,
Might not be such a bad idea if i never, never went home again
Stand as far away from me as you can and ask me why
Hang on to your rosary beads
Close your eyes to watch me die
You keep saying, kick it, quit it, kick it, quit it
God, but did you ever try
To turn your sick soul inside out
So that the world, so that the world
Can watch you die
Home is where I live inside my white powder dreams
Home was once an empty vacuum that's filled now with my silent screams
Home is where the needle marks
Try to heal my broken heart
And it might not be such a bad idea if I never, if I never went home again
Home again
Home again
Home again
Kick it, quit it
Kick it, quit it
Kick it, quit it
Kick it, can't go home again
HERE
(Contains versions by Gil Scott-Heron, Esther Phillips and Anita Lane)
'If Iggy can wear a shirt that means I can give haircuts to bald people...YAY!'
(Youtoob comment LOL!)
Monday, 11 April 2011
♪♫ Deaf Wish - Deaf News
(Thanx Michael!)
Said it before and I will say it again: Melbourne is ONE of the greatest music cities of the world!!!
Said it before and I will say it again: Melbourne is ONE of the greatest music cities of the world!!!
The Prodigy - Live PA, The Point, Dublin, IE 1995-12-31
01. [00:00 3:53] The Prodigy - "Your Love" (1991)
02. [03:53 3:50] The Prodigy - "Voodoo People" (1994)
03. [07:43 5:21] The Prodigy - "Rhythm Of Life" (1993)
04. [13:04 3:14] The Prodigy - "Poison" (1995)
05. [16:18 4:27] The Prodigy - "Out Of Space" (1992)
06. [20:45 1:21] The Prodigy - "Acid Break" (1995)
07. [22:06 3:01] The Prodigy - "The '95 Vibe" (1995)
08. [25:07 4:58] The Prodigy - "Their Law" (1994)
09. [30:05 3:53] The Prodigy - "Skylined" (1994)
10. [33:58 3:25] The Prodigy - "Rock 'n' Roll" [Unreleased]
11. [37:23 4:08] The Prodigy - "No Good (Start The Dance)" (1994)
12. [41:31 3:56] The Prodigy - "Loose Your Mind" [Unreleased]
13. [45:27 6:27] The Prodigy - "One Love" (1993)
14. [51:54 5:38] The Prodigy - "Live Gabba" [Unreleased]
♪♫ Blur - Tender (Later w/ Jools Holland)
This is where Damon Albarn started getting interesting for me!
Sunday, 10 April 2011
Jørgen Leth - A Sunday In Hell (1976 - Documentary)
A Sunday in Hell (original title: En Forårsdag i Helvede) is a 1976 Danish documentary directed by Jørgen Leth. The film is a chronology of the 1976 Paris–Roubaix bicycle race from the perspective of participants, organizers and spectators.
Paris–Roubaix is the most famous and usually the most dramatic of the spring classics. Much of the latter portion is over narrow, cobbled tracks that choke with dust on dry days and become slick and muddy in rain. For the riders it's a challenge to keep going without puncturing or crashing.
The film captures not just the events of the 1976 edition but the atmosphere of a professional race. It begins by introducing the contenders: Eddy Merckx, Roger De Vlaeminck (the previous year's winner), Freddy Maertens, and Francesco Moser, each with their supporting riders (the domestiques), who are charged with helping their team leader win. The film gives views of the team director, protester (the race is halted for a while), spectator, mechanic and rider. As the cobbled section is entered the selection begins. Riders puncture, crash, make the wrong move - the race plays out. By the finish in the velodrome in Roubaix only a few are in with a chance. The winner is a surprise, but that is part of the appeal. Post-race the exhausted riders, mired in dirt, give interviews in the velodrome's showers. They look like men who have been to hell and back. (wikipedia)
"You can see every bead of sweat on the cyclists and every smashed-up ankle. It really makes you never want to get on a bike again. But it is an amazing film." - Nick Fraser, BBC commissioning editor
"Arguably the best film ever made about professional cycling" - Peter Cowie, International Film Guide
Today the 109th edition of Paris-Roubaix takes part
Dennis Coffey - Knockabout
The undisputed heavyweight champion of sizzling guitar funk returns with a new batch of Motor City funk. On “Knockabout,” thick breakbeats segue into a ziplock tight groove complete with a choir refrain; perhaps a nod to the Blaxpoitation arrangement aesthetic he mastered on the classic “Black Belt Jones.” As the LA Times says, “Coffey’s funk has a fresh coat of paint, but remains dirty as ever… you might not hear anything with a nastier groove all year.”
Album release date: Apr 26, 2011
via
5 Songs: Steve Kilbey
Tyrannosaurus Rex - 'Lofty Skies' (A Beard of Stars, 1970)
Donovan - 'Atlantis' (1968)
Genesis - 'The Lamia' (The Lamb Lies Down on Broadway, 1974)
Kate Bush- 'Lily' (The Red Shoes, 1993)
@'ABC'
Julian Assange claims WikiLeaks is more accountable than governments
WikiLeaks 'is more responsive than a government that is elected after sourcing money from big business every four years,' Assange told the audience. Photograph: Akira Suemori/AP
WikiLeaks is more accountable than democratically elected governments because it accepts donations from members of the public, Julian Assange has claimed, in his first formal public appearance since being arrested in December following accusations of rape and sexual assault.
Questioned at a public debate about the whistleblowing organisation's own transparency, Assange told an audience of 700 people, many of them supporters: "We are directly supported on a week-to-week basis by you. You vote with your wallets every week if you believe that our work is worthwhile or not. If you believe we have erred, you do not support us. If you believe we need to be protected in our work, you keep us strong.
"That dynamic feedback, I say, is more responsive than a government that is elected after sourcing money from big business every four years."
The WikiLeaks founder, who is currently appealing against his extradition to Sweden to face allegations of sexual assault, told the audience at a packed debate organised by the New Statesman and the Frontline Club that whistleblowing was essential in a democracy because "the only way we can know whether information is legitimately kept secret is when it is revealed".
He cited the examples of Vietnam and "the disaster that was the Iraq war", saying that if whistleblowers had had the courage to speak up earlier about both conflicts, "bloodbaths" could have been avoided.
He said he "could speak for hours" about the impact of the publication of leaked US embassy cables, much of it through the Guardian, and that leak's positive impact.
The Hindu newspaper had in recent weeks published 21 front pages based on so-called "cablegate" revelations, he said, leading to the Indian government walking out four times and a growing anti-corruption movement in the country.
But the political commentator Douglas Murray, director of the centre for social cohesion, challenged Assange over the website's sources of funding, its staffing and connections with the Holocaust denier Israel Shamir, who has worked with the site.
"What gives you the right to decide what should be known or not? Governments are elected. You, Mr Assange are not."
Murray also challenged the WikiLeaks founder over an account in a book by Guardian writers David Leigh and Luke Harding, in which the authors quote him suggesting that if informants were to be killed following publication of the leaks, they "had it coming to them".
Assange repeated an earlier assertion that the website "is in the process of suing the Guardian" over the assertion, and asked if Murray would like to "join the queue" of organisations he was suing.
The Guardian has not received any notification of such action from WikiLeaks or its lawyers.
Jason Cowley, the editor of the New Statesman and chair of the debate, interjected to ask: "How can the great champion of open society be using our libel laws to challenge the press?"
The WikiLeaks founder was obliged to leave before responding to all the questions in order to comply with the curfew conditions of his bail.
WikiLeaks' lawyer Mark Stephens could not be reached for comment. Asked after the debate whether he could shed any light on the supposed legal action, WikiLeaks spokesman Kristin Hrafnsson said "not really".
Esther Addley @'The Guardian'
Questioned at a public debate about the whistleblowing organisation's own transparency, Assange told an audience of 700 people, many of them supporters: "We are directly supported on a week-to-week basis by you. You vote with your wallets every week if you believe that our work is worthwhile or not. If you believe we have erred, you do not support us. If you believe we need to be protected in our work, you keep us strong.
"That dynamic feedback, I say, is more responsive than a government that is elected after sourcing money from big business every four years."
The WikiLeaks founder, who is currently appealing against his extradition to Sweden to face allegations of sexual assault, told the audience at a packed debate organised by the New Statesman and the Frontline Club that whistleblowing was essential in a democracy because "the only way we can know whether information is legitimately kept secret is when it is revealed".
He cited the examples of Vietnam and "the disaster that was the Iraq war", saying that if whistleblowers had had the courage to speak up earlier about both conflicts, "bloodbaths" could have been avoided.
He said he "could speak for hours" about the impact of the publication of leaked US embassy cables, much of it through the Guardian, and that leak's positive impact.
The Hindu newspaper had in recent weeks published 21 front pages based on so-called "cablegate" revelations, he said, leading to the Indian government walking out four times and a growing anti-corruption movement in the country.
But the political commentator Douglas Murray, director of the centre for social cohesion, challenged Assange over the website's sources of funding, its staffing and connections with the Holocaust denier Israel Shamir, who has worked with the site.
"What gives you the right to decide what should be known or not? Governments are elected. You, Mr Assange are not."
Murray also challenged the WikiLeaks founder over an account in a book by Guardian writers David Leigh and Luke Harding, in which the authors quote him suggesting that if informants were to be killed following publication of the leaks, they "had it coming to them".
Assange repeated an earlier assertion that the website "is in the process of suing the Guardian" over the assertion, and asked if Murray would like to "join the queue" of organisations he was suing.
The Guardian has not received any notification of such action from WikiLeaks or its lawyers.
Jason Cowley, the editor of the New Statesman and chair of the debate, interjected to ask: "How can the great champion of open society be using our libel laws to challenge the press?"
The WikiLeaks founder was obliged to leave before responding to all the questions in order to comply with the curfew conditions of his bail.
WikiLeaks' lawyer Mark Stephens could not be reached for comment. Asked after the debate whether he could shed any light on the supposed legal action, WikiLeaks spokesman Kristin Hrafnsson said "not really".
Esther Addley @'The Guardian'
kevinmitnick Kevin Mitnick
I requested my FBI file under the Freedom of Information Act, The LA office claims they lost my file. Maybe Wikileaks can find it for me :-)
Lee "Scratch" Perry - Higher Level (feat. Tunde Adebimpe)
Taken from forthcoming Lee Scratch Perry album "Rise Again":
Eleven all-new songs, mixed in the dub style by Bill Laswell
and featuring:
Tunde Adebimpe (TV on the Radio)
Ejigayehu "Gigi" Shibabaw (Ethiopian superstar)
Hawkman (Methods Of Defiance, Tricky)
Jahdan Blakkamoore
Bernie Worrell (P-Funk legend)
Josh Werner (Matisyahu, Wu-Tang)
Sly Dunbar (Sly and Robbie)
Hamid Drake (master drummer/percussionist)
Aiyb Dieng (Senegalese percussionist)
Dominick James (Angelique Kidjo, Shakira)
Release date: May 10, 2011
Why, Kate? WHY?
So, Kate Bush has a new album - Director's Cut - on the way. It'll contain re-recorded versions of a selection of songs from from The Sensual World (1989) and The Red Shoes (1993) and the first single from it - Deeper Understanding - is up on YouTube. And, having been looking forward to some new tunes from KB, I have to say I think it's a real disappointment but y'all can make up your own minds:
Sorry, Kate, but it really doesn't do anything for me. Maybe I'm unimpressed because it's my favourite song on my favourite album of hers and didn't really think it needed another version - but mostly it's the autotune that I think spoils it. It may be The Law Of The Music Biz that all pop albums in 2011 must have at least one track with it on, but if there was ever an effect that I thought was old from the first time I heard it (Cher's Believe), it's autotune.
So here's another old track - not by Kate Bush - to relieve my disappointment: Marina & The Diamonds I Am Not A Robot (Starsmith's 24 Carat Mix):
Where was I, before I got sidetracked by a wave of meh? Oh yes. All the news that's fit to pront. Kate Bush's new album Director's Cut is slated for release on 16 May 2011 and the tracklist (according to Wikipedia) is:
1. Flower of the Mountain2. Song of Solomon
3. Lily
4. Deeper Understanding
5. The Red Shoes
6. This Woman's Work
7. Moments of Pleasure
8. Never Be Mine
9. Top of the City
10. And So is Love
11. Rubberband Girl
I'm just hoping that the remakes of Never Be Mine and This Woman's Work (in particular) actually do something new with the originals. Something that's not autotuned...
Saturday, 9 April 2011
Krautrock Hörvergnügen
"Our good friends over at the RBMA have teamed up with us and Goethe Institut Los Angeles for another installment of our THEME-STREAM series – a deep web radio excursion into a designated musical area. On this occasion, we’re diving into the canon of German music for a five week long extravaganza dubbed German Sound Exploration, featuring exclusive mixes, live sets and interviews. You can tune in via the dedicated microsite anytime until May 1.
Spanning the very early days of krautrock and analogue synths with innovators such as Manuel Göttsching, Kraftwerk, and Cluster, to techno trailblazers like Moritz von Oswald and Wolfgang Voigt, to electronic baton-grabbers like Mouse On Mars, Atom TM, and To Rococo Rot, this radio stream demonstrates a rich variety of sounds and styles from across the German kosmos. Jawohl!"
(dublab)
RBMA presents ‘Hörvergnügen’
01. Brainticket – Jardins – RCA
02. Unknown – Unknown – Unknown
03. Die Egozentrischen 2 – Durchdrehn In Der DB – Was Soll Das?
04. Roland Kovac – Nymphe – Selected Sounds
05. Cluster – Caramel – Brain
06. Conrad Schnitzler – Auf Dem Schwarzen Kanal – RCA
07. Futurologischer Kongress – Stoned Im Dschungel – Berlin Rock News
08. Eric Vann – Sunken Galleons – Coloursound
09. Säurekeller – Desa D – Ulan Bator
10. Quiet Life – Schlafen – Wartungsfrei
11. Schatten Unter Eis – Red Frogs – WSDP
12. Kraftwerk – Hall of Mirrors – Capitol
13. Ashra – Ocean Of Tenderness – Virgin
14. Peter Baumann – Phase By Phase – Virgin
15. A La Ping Pong – Go Go Pongs – private
DOWNLOAD
Bill Callahan - Apocalypse (2011 - Albumstream)
Those looking for a logical musical follow-up to Bill Callahan's surprisingly accessible Sometimes I Wish I Were an Eagle from 2009 might scratch their heads at the sound on Apocalypse. The musical reference point in his catalog is, perhaps, A River Ain't Too Much to Love, under the Smog moniker. It's not that this recording resembles that one musically, so much as it employs outsider takes on American roots traditions to get its seven songs across. Apocalypse is a song cycle that places the usually extremely inward-looking Callahan in the unlikely role of observer and interpreter of various American myths; myths both externally held and culturally self-referential, that inform the interior world of the protagonist. Recorded and mixed in Texas and adorned by Paul Ryan's iconic painting Apocalypse at Mule Ears Peak, Big Bend National Park in West Texas, the album portrays America in all its complexity from the vantage point of an empathic yet wryly humorous narrator. On album-opener "Drover," Callahan plays a minor-key, two-chord vamp on a nylon-string guitar, offering a fragmented narrative on a cattle drive. Backed by a full-on rock band led by Matt Kinsey's reverb-laden electric guitar, and colored by Gordon Butler's fiddle, it begs the question: do these cattle actually exist or are they metaphorical elements in the protagonist's psyche? The chorus is the hint as it introduces a lovely second melody and turns the song back on the listener as Callahan sings: "One thing about this wild, wild country/It takes a strong, strong it breaks a strong, strong mind..." "Baby's Breath" is more fractured and rockist, with a taut balance of acoustic and knife-edged electric guitars populating the musical space. Callahan's protagonist found the right place, the right woman, and lost the latter. He has questions but no answers. "America" is the set's hinge piece. A repetitive, electric, pulsing, hypontic distorted blues--a la R.L. Burnside--that examines America's mythical past and its tarnished present. Callahan name checks songwriting heroes -- Kris Kristofferson, Mickey Newbury, George Jones, and Johnny Cash -- by their actual ranks and branches in the armed forces while admitting he's never served, as if that might be the problem; then amid the din to make things more complex, he names our greatest national failures and dirty conquests. The album's most melodic and utterly beautiful song is the confessional waltz "Riding for the Feeling," with glistening electric piano and Wurlitzer played by Jonathan Meiburg. Closer "One Fine Morning" is a nearly nine-minute, lilting ballad that turns on a couple of chords, some pastoral yet jarring lyrics, and a gospel piano atop strummed guitars, which transmute the listener to another place and time. Apocalypse is a deceptively complex gem.
(Thom Jurek - allmusic; 4/5)
ALBUMSTREAM
Subscribe to:
Posts (Atom)
