SHAKEDOWN, 1979 (April, part two)
1 hour ago
Wednesday 30 May 2012
♪♫ Sandie Shaw - Always Something There To Remind Me (1964)
written by songwriting team Burt Bacharach and Hal David. First recorded as a demo by Dionne Warwick in 1963, "(There's) Always Something There to Remind Me" first charted for Lou Johnson whose version reached #49 on the Billboard Hot 100 in the summer of 1964.
British impresario Eve Taylor heard Johnson's version while on a US visit scouting for material for her recent discovery Sandie Shaw who resultantly covered the song for the UK market in September 1964 that same month premiering the song with a performance on the Ready Steady Go! pop music TV program. Shaw's "(There's) Always Something There to Remind Me" was rush released to reach #1 on the UK charts in three weeks, spending three weeks at #1 in November 1964 and that same month debuting on the Billboard Hot 100; however despite reaching the Top Ten in some markets including Detroit and Miami Shaw's version of "...Always Something There to Remind Me" failed to best the national showing of the Lou Johnson original as the Hot 100 peak of Shaw's version was #52.
(wiki)
Tuesday 29 May 2012
Rally For Julian Assange 31st May 2012 12-2pm & 4:30-6:30pm, 2 Lonsdale St Melbourne CBD. Dept. Foreign Affairs & Trade. #Wikileaks
Jennifer Robinson describes Julian Assange's extradition fight
:)
This website should be banned. http://arseh.at/y51 If you buy a t-shirt, someone should get a proceeds-of-crime smack down too.
Nik Colk Void: Gold E Playback
Monday 28 May 2012
The Flaming Lips rewrite 'Race For The Prize' for Oklahoma City Thunder
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Orange, White and Blue (Mayhem): Roots of South African Punk
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Soundtrack to the article "Orange, White and Blue (Mayhem): the Roots of South African Punk" in Paraphilia Magazine 13, December 2011.
Vintage underground rock, 1960s garage, psychedelia, township funk and proto-punk from South Africa, 1958-1980
Tracklisting:
1. Ivan Kadey, “Chief Joseph” (solo demo, 2010)
2. A-Cads, “Down The Road” (1966)
3. Otis Waygood Blues Band, “You Can’t Do Part 2” (1970)
4. Abstract Truth, “Pollution” (1970)
5. Freedom’s Children “Gentle Beasts Part 1” (1970)
6. Suck, “The Whip” (1970)
7. Hawk, “Uvoyo” (1972)
8. Solven Whistlers, “Something New in Africa” (1958)
9. Allen Kwela and His Guitar 500, “Guitar Rock” (early 1960s)
10. Dark City Sisters, “Shala Shala Twist” (1962)
11. The Raiders, “Deep Soul” (1969)
12. The Invaders, “Turn on the Sun” (1970)
13. The Flames, “For Your Precious Love” (1968)
14. The Beaters, “Harari” (album version, 1975)
15. The Movers, “Crying Guitar” (1970)
16. Mahlathini and the Mahotella Queens, “Wozani maHipi” (1975)
17. Philip Tabane and Malombo, “Malombo Blues” (1976)
18. Ivan Kadey, “Orange White and Blue (Mayhem)” (solo demo, 2010)
19. Flaming Souls, “30-60-90” (early 1970s)
20. Reggie Msomi and His Hollywood Jazz Band, “Midnight Ska” (1965)
21. Mike Lebisi with National Wake, “Corner House Stone” (1980)
22. Radio Rats, “ZX Dan” (album version, 1978)
23. Michael Flek, “What About Me / Down in the Streets” (acoustic, 2010)
Article available at www.paraphiliamagazine.com
For more information, see www.punkinafrica.co.za
Some of this music is available for purchase through the excellent South African reissue label Retro Fresh - http://www.freshmusic.co.za/retrofresh.htm
compiled and mixed by Keith Jones and Craig Duncan (Radio Wave)
Punk In Africa
Soundtrack to the article "Orange, White and Blue (Mayhem): the Roots of South African Punk" in Paraphilia Magazine 13, December 2011.
Vintage underground rock, 1960s garage, psychedelia, township funk and proto-punk from South Africa, 1958-1980
Tracklisting:
1. Ivan Kadey, “Chief Joseph” (solo demo, 2010)
2. A-Cads, “Down The Road” (1966)
3. Otis Waygood Blues Band, “You Can’t Do Part 2” (1970)
4. Abstract Truth, “Pollution” (1970)
5. Freedom’s Children “Gentle Beasts Part 1” (1970)
6. Suck, “The Whip” (1970)
7. Hawk, “Uvoyo” (1972)
8. Solven Whistlers, “Something New in Africa” (1958)
9. Allen Kwela and His Guitar 500, “Guitar Rock” (early 1960s)
10. Dark City Sisters, “Shala Shala Twist” (1962)
11. The Raiders, “Deep Soul” (1969)
12. The Invaders, “Turn on the Sun” (1970)
13. The Flames, “For Your Precious Love” (1968)
14. The Beaters, “Harari” (album version, 1975)
15. The Movers, “Crying Guitar” (1970)
16. Mahlathini and the Mahotella Queens, “Wozani maHipi” (1975)
17. Philip Tabane and Malombo, “Malombo Blues” (1976)
18. Ivan Kadey, “Orange White and Blue (Mayhem)” (solo demo, 2010)
19. Flaming Souls, “30-60-90” (early 1970s)
20. Reggie Msomi and His Hollywood Jazz Band, “Midnight Ska” (1965)
21. Mike Lebisi with National Wake, “Corner House Stone” (1980)
22. Radio Rats, “ZX Dan” (album version, 1978)
23. Michael Flek, “What About Me / Down in the Streets” (acoustic, 2010)
Article available at www.paraphiliamagazine.com
For more information, see www.punkinafrica.co.za
Some of this music is available for purchase through the excellent South African reissue label Retro Fresh - http://www.freshmusic.co.za/retrofresh.htm
compiled and mixed by Keith Jones and Craig Duncan (Radio Wave)
Punk In Africa
(This one's for you Stan!)
David Byrne: This Is How We Ride
The major reason that Melbourne's bike scheme has never really taken off is due to our stupid and totally unnecessary compulsory helmet law. As a cyclist for about the last 45 years I can assure you that a helmet would not have helped in the slightest when my knees, elbows etc got grazed the few times I have come off...Sunday 27 May 2012
Artur Dutkiewicz Trio - Hendrix Piano (2009)
- Voodoo Chile (J. Hendrix)
- Angel (J.Hendrix)
- Manic Depression (J. Hendrix)
- Wind Cries Mary (J. Hendrix)
- Changes (B. Miles)
Artur Dutkiewicz - piano
Darek Oleszkiewicz - bass
Sebastian Frankiewicz - drums
Alan Warner: A life in writing
One day in 1981, 16-year-old Alan Warner was in Oban with a friend when they noticed something in an art shop window. "My friend said: 'There's that new book by that guy in Glasgow.' It had beautiful rococo art work on the cover." The book was a hardback copy of Aladsair Gray's novel Lanark, just published by Edinburgh-based Canongate press. "I remember saying to my friend: 'You mean there's someone in Scotland writing books today?' I genuinely thought writing in Scotland had died out like the gas lamp."
Warner concedes that this deluded impression was in part prompted by living in a Highland tourist town and seeing Walter Scotts and Robert Louis Stevensons bound and forbidding in souvenir shops – "an antiquarian feel that had been projected on to Scottish literature." But it wasn't much better in Glasgow. He recalls going to a three-storey bookshop there the same year. "The Scottish literature section consisted of Muriel Spark, John Buchan, Stevenson and Scott. Apart from Spark you'd have nothing published since the 60s. Nothing. Everything was over with."
Worse, literature had been colonised by the posh English. "Every Penguin classic you looked at was 'He studied at Oxford or Cambridge.' That's why I was fascinated by literature – because it was otherworldly. It wasn't something made in and of my community."
It's inconceivable that any sentient Scot could feel today as Warner did in 1981. Scottish literature has flourished so much in the three decades since that disbelieving Oban moment, thanks to Gray, James Kelman, Irvine Welsh, AL Kennedy, Andrew O'Hagan, Iain Banks, Ali Smith, Kathleen Jamie, and others too numerous to mention, that the firm of Scott, Stevenson and Spark no longer has a stranglehold on the national literary imagination.
The most notable omission from that list of Scottish literary revivifiers is Warner himself, who, as the author of seven novels from his bravura 1995 debut Morvern Callar to the sophisticated ambition of his latest The Deadman's Pedal, published this month, has been feted as one of Scotland's finest writers. The critics hail you, I tell him, as the true artist of the Scottish novel. "Oh I cringe when you say that. It's just I can't walk around – I should but I can't – thinking 'I am an artist.'" Warner's a big man, but shrinks over his Red Bull and ice as he sits at a table framed by the window of the bar of Edinburgh's Rutland Hotel.
Behind him it rains unstoppingly for the next three and a half hours, reinforcing the melancholy Caledonian mood Warner established when we met, as he pointed out closed-down shops on Princes Street. Scotland's premier boulevard is hushed: there's no traffic thanks to the building of a tramway and few pedestrians because of the rain. There is, though, a tank parked on the street, to woo army recruits. Outside, Edinburgh's unpeopled and militarised; inside, Warner eventually moves from Red Bull to Guinness.
"I've always had to pinch myself," he says, de-hunching himself finally. "Even today I still feel like a reader who happens to write. I know it's not really the truth, I know it's taken over my life, the writing, become a compulsion. And more than a compulsion – a curse."
Long before he became an accursed artist, Warner was bookless in Argyll. "My family didn't really read books. Nor did I." That changed when, aged, 15, he went into John Menzies and came out with three novels – Camus's The Outsider, Gide's The Immoralist and Charles Webb's The Graduate – partly because the covers suggested the books would be about sex.
"I thought books were James Bond and Agatha Christie and then suddenly I read The Immoralist and later Alan Paton's Cry, the Beloved Country and half way through them you're devastated by what's going on. It completely changed my world. I never knew literature could move you, change the way you looked at the world."
Seduced by literature, he became a Highland autodidact, trawling in almost continuous literary rapture through Penguin classics from a charity shop. "Twenty five of them in a row – no sensible connection between them. Dostoevsky, Gide, The Lives of the Saints, Henry James. It was a completely pure experience for about a year of my life. Those books twisted me around something remarkable."
Only later did Scottish writing catch up with Warner's reading. The book that revolutionised his sensibility and induced him to write fiction was James Kelman's 1984 novel The Busconductor Hines. "I remember that the effect it had on me – apart from great joy – was 'That's all you have to do. You sort of, eh, have a job and you write about the job and the guy has thoughts.' So out came the pen." He still starts his books in longhand...
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Stuart Jeffries @'The Guardian'
Chris & Cosey revisiting 10, Martello Street
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Carter Tutti & More At Free One-Dayer
Henry Rollins Learns to Wrestle an Alligator
'Those things are not tame, as if you could tame a big reptile," Rollins says about wrestling an alligator. "There’s no familiarity. They might not scare you, but it is a very big animal. I had never done anything like that before. But basically I just tried to stay very present and very aware of what I was doing. I have not seen the footage but I’m sure my face was a study of concentration. I do remember going ‘okay, get through this.’ Before I jumped on the alligator, the owner was like, ‘You know he’s more of a runner than a biter.’ Which apparently is supposed to buck you up.'
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