https://youtu.be/oU6EIPvu6RE
31/08/2020
30/08/2020
TREMBLING BLUE STARS John Peel 9th August 2000
The band featured regularly on John's show, garnered an early Festive Fifty entry in 1996, and recorded a session in 2000 which has never been officially released.
29/08/2020
Joni Mitchell - Both Sides Now (Live At The Isle Of Wight Festival 1970)
August 29, 1970 Joni Mitchell did one of the most difficult performances of her career at the Isle of Wight Festival. Nearly breaking down in front of a rowdy, tumultuous crowd heckling her, she overcame and astounded them all with this:
Annette Peacock - I'm The One
Diamanda Galas: What about Annette Peacock, especially on “I’m the One”?
There’s another singer that I love. Annette Peacock.
How about Amy Winehouse on “Back to Black” – is she singing or just grabbing a bunch of R&B vocal shtick from her trick bag?
Well, I felt that her very early singing, when she was different – she looked different – was quite promising, and really good. Then later on she sang a lot of things like a series of vocal pastiches; she went to one of those schools in England where they teach them American-style black singing, more or less, or like a Dusty Springfield thing. I heard the pastiche in Amy’s singing, but I loved the sound of her vocal instrument; I liked the sound of it so much that I didn’t care that she did her vaudeville shtick or whatever. A lot of vaudevillians did their shtick too, but I’m very addicted to the sound of an instrument.
I love Julie London’s sound. Oh God, Julie London. Jesus Christ. Someone wrote me recently that my singing reminded them more of Sonny Rollins than it did Dinah Washington or any other singer per se. I thought that was a very interesting comment because the sound is, for me, the first thing. If I don’t like the sound of a voice, I immediately turn it off.
Patty Waters - Black Is the Color of My True Love’s Hair
You’ve talked a lot about Patty Waters’ “Black Is the Color of My True Love’s Hair.” Was it an influence on your singing style, technique, attitude?
The song was so incredible, I was crazy about it in the ‘70s. [Bassist] Mark Dresser played it for me and I was knocked out. I thought, this is really unfair that nobody knows who she is. I wanted people to know that I had heard her in the ‘70s, so I said, “She must be one of my influences.” But I didn’t mean it literally, I meant it’s that you have your ears and you hear things all day and somehow there’s a thing that happens, lots of choices that you make throughout the day about what you’re going to keep in your ears and what you’re not. So I cannot imagine that I wouldn’t have kept something in my ears of hers. I don’t sound anything like Patty Waters, my work has not been inspired by her at all, but I have to praise her for having preceded me.
Doris Day is an underrated singer on “Fly Me to the Moon,” no doubt on account of her squeaky-clean image.
But you know what, who underrated her? Because, let’s face it, in Hollywood, she was number one. So among whom is she underrated? The jazz community? Well, who gives a fuck, man. They wouldn’t have given her a buck anyway. They don’t have a buck to give. So, really, if you think about it, who underrates her? I’m probably one of the only singers who actually discusses her, because most singers don’t want to be associated with that kind of, you know, daisy vibe. I don’t care about whether she’s smiling obscenely while she’s singing, I’m just listening to the voice, you know? She was also a stupendous dancer. And to imagine that a singer can sing like that while dancing is pretty incredible.
Doris Day sings with a kind of Bach tone – restrained. She sings this pure legato, the pure melody. And how many singers actually sing the melody of a fucking song before they do their shtick to it? Very few, and it’s because they can’t hit the notes, or they can’t hear the notes. We have a lot of jazz musicians who obviously do the same thing. It’s like they can’t hear the changes, so they never play the melody right, ever!
Let’s talk about your 1994 album with John Paul Jones, The Sporting Life.
What I like about John Paul Jones so much is reflected by the evening in which he and I sat and went through a songbook of the Supremes. We were working on our record. I was shocked that he knew and had done the arrangements for all these Motown acts coming through London, and that he had done those arrangements for a lot of singers. I was shocked, because I love that music so deeply and because for so many years I just despised the Beatles. Jesus! I respect the production stuff very much, but the idea of the Beatles and the whole Beatles thing just made me sick because, for me, the [harmonic/melodic] changes of the Supremes were so sophisticated.
Jah Wobble's Invaders Of The Heart ~ Rising Above Bedlam (Album 1991)
Jah Wobble's Invaders Of The Heart ~ Rising Above Bedlam (Album 1991)
25/08/2020
23/08/2020
Touchdown/Orthrelm - Touchdown - Blynken
CD pairing two instrumental duos doing some astounding things, despite their seemingly limiting instrumentation. Orthrelm (Mick Barr on distorted, treble-heavy guitar and Josh Blair on drums) checks in first with four untitled tracks totaling about 13 minutes. Nearly overwhelming in their detail and information density, these songs are firmly within Orthrelm s by-now distinctive personal idiom, sounding like a cross between high energy '60s free jazz (due to the drumming) and modern extreme metal (based on the angular guitar-shredding). The music, though it contains no repetition and may even sound improvised to some listeners, is in fact fully composed, and close listening reveals a strong attention to form and to the development of certain motives or melodic ideas.
22/08/2020
21/08/2020
20/08/2020
This Day
member of Tangerine Dream during the '70s who released solo albums in addition to founding new age label Private Music.
16/08/2020
I Call It Pretty Music But The Old People Call It The Blues Pt. 2 (Mono ...
today in 16-8-1962
Little Stevie Wonder (aged 12), released his first single, 'I Call It Pretty Music, (But The Old People Call It The Blues)', the single featured Marvin Gaye on drums.
15/08/2020
Azonic - Beyond The Pale
Azonic Halo (Strata, 1994) was Andy Hawkins' new project after Blind Idiot God, yet another epic excursion at the edge of rock's sonic horizons but this time via four lengthy improvised solos (with help from bassist Gabriel Katz). The ten-minute Beyond the Pale unleashes a tornado of Hendrix-ian feedbacks, violent fits of angst-laden hallucination. The twelve-minute Shore explores the other (contemplative) side of the coin via a droning raga-like distortion, first soaring to the skies and then descending again to Earth. The eleven-minute Headwaters sends waves of metallic dissonance against an oscillating drone. The twelve-minute Raze is the gothic, suspenseful closer, sending alien tremors up cascading walls of white noise that sometimes sound like baroque keyboards played by the fingers of a mad ghost. Few albums in the history of rock music packed and conveys so much emotion with such minimal means.
This transcendent work is the equivalent of Peter Green End of the Game (1969) for the punk and post-industrial generation: the soundtrack of a soul awash in the massive neurosis of his era.
Minimal Compact - New Clear Twist
IN MY TOP 10 ... they are my favorite bands.
I really like it when I listen to this song, I have the same feelings as if I heard it for the first time, since the 80's ... AMAZING ... one of my favorite songs ever ... love
14/08/2020
Barnes & Barnes - Cemetery girls
Bill Mumy and Rob Haimer formed Barnes & Barnes in the early 1970s. It was another gimmick in the "novelty" genre, which in their case tended to perverse Zappa-style satire.
Voobaha (Rhino, 1980 - Oglio, 1996) is a continuous defense of crime, but perpetrated with the most psychotic and demented spirit, between the horrid Boogie Woogie Amputee with garage-surf organ, the enthralling anthem rock'n 'roll of alienation Pumped Out Blues, the parody of the gospel-soul of the fifties Party In My Pants, the nursery rhyme for children Clip Clop, worthy of the most stupid gags of Zappa, the chorus from the cartoon soundtrack Fish Heads, a parisian street song with a fatalist accordion (Gumby Jaws Lament), a vaudeville chant with a murderous lyrics (I Hope She Dies) and a ridiculous and excited blues (Sewey Hole).
The demented single Soak It Up (1983) held attention. When it finally came out, Amazing Adult Fantasy (Rhino, 1984) turned out to be their most commercial album (with the pseudo-hit I Don't Remember Tomorrow and Don't You Wanna Go To The Moon ").
Dinosaur Sex (Full Version)
Family Fodder, the project of Alig "Fodder" Pearce fronted by Dominique Levillain, played comic party music that evokes alternatively Barnes & Barnes's musichall or Mekons' anarchic punk-rock or Gong's nonsensical prog-rock, the Lemon Kittens's surreal pop, on their first album Monkey Banana Kitchen (1980). Two entertaining songs (Symbols, Monkey) and the nutty disco-music of Savoir Faire and Organ Grinder are not enough to justify a full-length though: a four-song EP would have been more than adequante.
ScHiZoPhReNiA pArTy (1981) contains the nine-minute funk-dub-rock novelty Dinosaur Sex.
All Styles (Jungle, 1983) was incredibly amateurish, bordering on ridiculous.
Pearce reformed the band that continued recording all the way into the new century: Water Shed (Dark Beloved Cloud, 2000), Classical Music (state51 Conspiracy, 2010), Variety (state51 Conspiracy, 2013), etc
God Is My Co-Pilot - Marshmallow World
A cross between the Teenage Jesus & The Jerks, the Holy Modal Rounders, the Half Japanese and Captain Beefheart that is expressed in the miniaturized format of hardcore, the group touches the heights of madness in the voodoobilly of Looken For A Fat Girl, in rhythm and blues Downgraded to Fierce Beast's Beefheart and Angels In The Air's Patti Smith invective, which, despite the infinite devastation, are basically the most musical pieces.
God Is My Co-Pilot - Queer Disco Anthem
God Is My Co-pilot inherited Half Japanese's miniaturized dementia. I Am Not This Body (1992) packed 34 brief, childish, dissonant pieces that parodied all sorts of genres. Their chaotic approach bordered on free-jazz cacophony, and on party music for a madhouse
rake - klang co.
Rake, formed by bassist Bill Kellum (owner of the alternative label VHF) in Fairfax (Virginia), belong to the florid progressive-school of the 1990s.
They established themselves as one of the most creative ensembles of the Washington scene via the single Cow Song/ My Fish Died (L Records, 1990), the EP Motorcycle Shoes/ Look at Rocks, My Miserable Existence/ The Center (VHF, 1991), the cassette The Day I Remembered Seeing Ice (Sweet Portable Junket, 1992) and the single Subterranean Marijuana Garden/ USTV (VHF, 1992).
Their first album, Rake Is My Co-Pilot (VHF, 1994), contains two lengthy improvisations, Thin the Herd and Motorcycle Shoes, driven by a jazz guitarist who listened to John McLaughlin till he went nuts and by a keyboardist who fell in love with the Moog. The sound is an aberration of Albert Ayler and Borbetomagus.
The single Squelch/ Phrase Text Slur (Fourth Dimension, 1995) heralded the double-CD album The Art Ensemble Of Rake/ Tell-Tale Moog (VHF, 1995), featuring Justin Chearno of Pitchblend. The sound is even more adventurous, bridging the gap between God Is My Co-pilot, Half Japanese and Boredoms
The first CD contains four lengthy suites. Klang Co (20 minutes) begins with minimalistic repetition that is soon dueting with thundering drums and wild guitar distortions. After about nine minutes, the rhythm decays and a chaotic swirl of faceless, scattered sounds (prominently Moog and saxophone) terminate the music.
Remote Sensing (13 minutes) begins with a terrifying eruption of jamming but the bacchanal loses rapidly steam and leaves behind a nuclear waste made of bubbling Moogs, drilling dissonances and harsh guitar mistakes. Remove any melodic element from the music of Albert Ayler and Art Ensemble of Chicago and add a sub-psychedelic indifference towards harmony.
13/08/2020
12/08/2020
QUEEN -Fragments
today 12-8-2012 The London Olympics ended with a spectacular musical closing ceremony. The three-hour show featured some of the biggest names of British music from decades past, including the Spice Girls, George Michael, The Who, Take That, Muse, Jessie J, Emeli Sande, Elbow, Madness, The Pet Shop Boys, One Direction, Ray Davies, Liam Gallagher, and Brian May and Roger Taylor from Queen.