Source: http://chicagoindieradio.org/chirplog/2024/weekly-voyages-friday-february-11-to-thursday-february-17
Monday, February 28, 2011
RhoDeo 1105 Aetix
Hello, breaking away currently from watching Zeitgeist: Moving Forward, the third installment in Peter Joseph's Zeitgeist film series. The movie was independently released simultaneously in over 60 countries and in over 30 languages on January 15, 2011 with over 340 screenings worldwide, meanwhile it's been up at Youtube more than 1.6 million views have been registered in the first 6 days, me i downloaded a 1.1 gig xvid of this impressive 160 min documentairy. Zeitgeist: Moving Forward (btw plenty of language subs aswell)
Ok..some more psychobilly again.. that highpowered and subsequently colourful lifestyle-without the big bucks or press mosquitos..as such it is powered by the internal drive, with highly infective results....
xxxxx
The Legendary Stardust Cowboy has been known to make people do strange things. Like sign him to a recording contract. Major labels aren?t receptive to weirdness; they?re in business to make money, not scare customers. Yet it was Mercury Records who propelled the Legendary Stardust Cowboy (a.k.a. "The Ledge") into the marketplace. In 1968, the label released his 45 rpm single, "Paralyzed" -- a blast of Texas no-fi wreckage, two-and-a-half minutes of Indian whoops, rebel yells and caveman cretinism -- that forever staked this unforgettable vocalist?s claim to fame.
The perpetrator of the feral "Paralyzed" is a relatively mild-mannered pussycat. Before he adopted the guise of the Legendary Stardust Cowboy, he was Norman Carl Odam, born September 5, 1947, in Lubbock, TX, to Carl Bunyan Odam and Utahonna Beauchamp. He was a shy youngster; he says it took his kindergarten teacher six months to get him to talk. One of his earliest recollections is that at age 7, he knew he "would like to go to Mars instead of the Moon." In school, he distracted himself by scribbling poetry and short stories.
At some point in his teens, Odam merged two great obsessions -- the Wild West and Outer Space -- and decided "The Legendary Stardust Cowboy" suited him better than "Norman." He spray-painted the name -- preceded by "NASA presents" -- in big gold and black letters across the side of his new Chevy Biscayne. He couldn?t get gigs at local clubs, so he obsessively sang in public: at frat houses, outside the Dairy Queen, in the parking lots of the Hi-D-Ho Drive-In and the Char-King. His makeshift stage was the roof of his Chevy.
With $160 in his pocket, the Ledge aimed his Biscayne at New York. His goal: the Tonight Show. He had no manager and no demo tape. He also had zero business smarts. He pit-stopped in Forth Worth, 300 miles east of his hometown. Two vacuum cleaner salesmen, headed out to a local club, spied the Ledge's graffiti-blessed Chevy in a parking lot, they knew the club owner, so they invited Odam along to perform. After witnessing the musical demolition derby that is a typical Ledge showcase, they whisked him to a nearby recording studio, where he auditioned an original song for a young engineer named T-Bone Burnett.
They spooled up a reel of tape and hit "record." T-Bone leapt to the drumkit, the Ledge grabbed a mic, and "Paralyzed" was born. The Ledge?s aboriginal shrieks and freewheeling bugle brays were underscored by Burnett?s furious, not quite-metronomic drumming. That was in the morning, in the afternoon the above situated radiosatation had already recieved positive feedback on their playing the recoding tape. Immediately 500 copies were pressed and not much later was sold to Mercury Records for national distribution. It cracked the Billboard Top 200. It brought the sagebrush spaceman instant fame, if not fortune.
Lubbock?s most eccentric export had launched a chart-climbing record and caused pandemonium on the nation?s top-rated TV show. Offers quickly followed for appearances on American Bandstand, The Joey Bishop Show, and Ed Sullivan. The "legendary" part of his name seemed assured; the "star" part was imminent. Unfortunately, within a short while, his dreams were "dust." Just as the Ledge was set to collect dividends on years of dues paying, a musicians? strike imposed a network ban on live music. Because he'd played guitar on national TV, the Ledge was categorized "union." The variety show offers were postponed. By the time the strike was over, so was "Paralyzed." It was off the charts. Two followup singles flopped. Doppler-like, the Ledge zoomed off the nation's cultural radar as quickly as he?d arrived.
During his stay in Las Vegas, he met DJ-entrepreneur James Yanaway, who had a new label, Amazing Records, for which he recorded the Ledge?s first full-length album, Rock-It to Stardom (1984). Unlike the skeletal instrumentation on his early singles, this recording (and all his later waxings) employed a band -- a cookin? crew. Technique remained parked in the lobby; spontaneity was the prime directive. Some of it turned out all right, considering the chaotic conditions it was recorded under. The album includes a new version of "Paralyzed," recorded in 1981 with the LeRoi Brothers. As re-makes go, it?s nearly as vigorous as the original.
A crew of San Francisco-based musicians undertook the honor of backing the Ledge in his Bay area debut in early 1986. Later that year they joined him in the studio to record the album Retro Rocket Back to Earth for Spider Records. The repertoire is largely first-take, sloppy but spirited, with no overdubs. Our lost-in-space cowpoke betrays his Luddite leanings, proclaiming in one song title, "I Hate CDs," though it?s perhaps less the technology than certain personalities associated with it. "I hate those CDs that Bruce Springsteen put out," the Ledge howls, "He?s the number one reason why I hate CDs." The same entourage recorded The Legendary Stardust Cowboy Rides Again, but they couldn?t find an American company that would touch it. (The album was released on France?s New Rose in 1990.)
Nowadays, the Ledge lives in San Jose and works in Santa Clara for defense contractor Lockheed-Martin as a security guard. "Got a top secret clearance," he revealed. "They designed the Pathfinder spacecraft that landed on Mars." Odam's a meteorology freak -- his TV is constantly tuned to the Weather Channel. Despite his hatred of CDs, he bought a deck, primarily to listen to his favorite singers: Barbra Streisand, Dinah Washington, and Barry Manilow. "And don't forget Sinatra," the Ledge advised. "He's #1." He rarely performs in public anymore. And despite his loyal following, the Ledge will always be a taste some folks never acquire.
Legendary Stardust Cowboy -Rock It 2 Stardom (84 ^ 80mb)
01 Paralyzed-'80's
02 I Walk A Hot Wind
03 Radar
04 Fly Me To The Moon
05 I Took A Trip
06 Cast Iron Apron
07 Cactus
08 Shadow Of A Tiger
09 Who's Knocking On My Door
10 Brass Rainbow
11 Shootout On A CB Channel
12 Mr Songwriter
13 Dynamite
14 Crack Of Dawn
15 Rock- It To Stardom
xxxxx xxxxx xxxxx xxxxx xxxxx
25 Years Of Rockin? & Wreckin?
For fans of psychobilly, that insane subgenre of punk and rockabilly developed separately and simultaneously by the Meteors in England and the Cramps on the North American side of the Atlantic, this contains tracks of pure, power-driven, horror film-imaged psychobilly. It contains virtually every other act produced by the genre and some songs by bands -- like the Tailgators -- not normally associated with it. The Guana Batz are here, as are the Termites, the Frantic Flintstones, the Gazmen, just to name a few.
VA - This Is Psychobilly 1 (148mb)
01. The Meteors - Mutant Rock (2:23)
02. The Guana Batz - King Rat (2:35)
03. The Deltas - Heart Attack (2:22)
04. The Ricochets - Hit Man (2:20)
05. The Sharks - Charlie (2:06)
06. The Meteors - Johnny Remember Me (3:10)
07. King Kurt - Road To Rack & Ruin (3:10)
08. Torment - The Source (2:45)
09. The Pharaohs - Blue Egypt (3:42)
10. The Frantic Flintstones - Bedrock (1:56)
11. The Krewmen - Night Of The Living Dead (2:35)
12. Sugar Puff Demons - Mask (1:59)
13. Stage Frite - Island Of Lost Souls (3:01)
14. The Termites - Shout It Out Loud [(3:06)
15. The Tailgators - Godzilla (2:41)
16. The Meteors - Eat The Baby (3:18)
17. Sugar Puff Demons - Dance With The Dead (2:21)
18. The Radiacs - Hellraiser (2:21)
19. Stage Frite - Bad Moon Rising (2:30)
20. Batfinks - Raisin' Hell (2:18)
21. Mad Sin - Ride This Torpedo (2:42)
22. The Guana Batz - Shake It Up (3:12)
23. The Frantic Flintstones - Billy Overdose (4:50)
xxxxx xxxxx xxxxx xxxxx xxxxx
Ok..some more psychobilly again.. that highpowered and subsequently colourful lifestyle-without the big bucks or press mosquitos..as such it is powered by the internal drive, with highly infective results....
xxxxx
The Legendary Stardust Cowboy has been known to make people do strange things. Like sign him to a recording contract. Major labels aren?t receptive to weirdness; they?re in business to make money, not scare customers. Yet it was Mercury Records who propelled the Legendary Stardust Cowboy (a.k.a. "The Ledge") into the marketplace. In 1968, the label released his 45 rpm single, "Paralyzed" -- a blast of Texas no-fi wreckage, two-and-a-half minutes of Indian whoops, rebel yells and caveman cretinism -- that forever staked this unforgettable vocalist?s claim to fame.
The perpetrator of the feral "Paralyzed" is a relatively mild-mannered pussycat. Before he adopted the guise of the Legendary Stardust Cowboy, he was Norman Carl Odam, born September 5, 1947, in Lubbock, TX, to Carl Bunyan Odam and Utahonna Beauchamp. He was a shy youngster; he says it took his kindergarten teacher six months to get him to talk. One of his earliest recollections is that at age 7, he knew he "would like to go to Mars instead of the Moon." In school, he distracted himself by scribbling poetry and short stories.
At some point in his teens, Odam merged two great obsessions -- the Wild West and Outer Space -- and decided "The Legendary Stardust Cowboy" suited him better than "Norman." He spray-painted the name -- preceded by "NASA presents" -- in big gold and black letters across the side of his new Chevy Biscayne. He couldn?t get gigs at local clubs, so he obsessively sang in public: at frat houses, outside the Dairy Queen, in the parking lots of the Hi-D-Ho Drive-In and the Char-King. His makeshift stage was the roof of his Chevy.
With $160 in his pocket, the Ledge aimed his Biscayne at New York. His goal: the Tonight Show. He had no manager and no demo tape. He also had zero business smarts. He pit-stopped in Forth Worth, 300 miles east of his hometown. Two vacuum cleaner salesmen, headed out to a local club, spied the Ledge's graffiti-blessed Chevy in a parking lot, they knew the club owner, so they invited Odam along to perform. After witnessing the musical demolition derby that is a typical Ledge showcase, they whisked him to a nearby recording studio, where he auditioned an original song for a young engineer named T-Bone Burnett.
They spooled up a reel of tape and hit "record." T-Bone leapt to the drumkit, the Ledge grabbed a mic, and "Paralyzed" was born. The Ledge?s aboriginal shrieks and freewheeling bugle brays were underscored by Burnett?s furious, not quite-metronomic drumming. That was in the morning, in the afternoon the above situated radiosatation had already recieved positive feedback on their playing the recoding tape. Immediately 500 copies were pressed and not much later was sold to Mercury Records for national distribution. It cracked the Billboard Top 200. It brought the sagebrush spaceman instant fame, if not fortune.
Lubbock?s most eccentric export had launched a chart-climbing record and caused pandemonium on the nation?s top-rated TV show. Offers quickly followed for appearances on American Bandstand, The Joey Bishop Show, and Ed Sullivan. The "legendary" part of his name seemed assured; the "star" part was imminent. Unfortunately, within a short while, his dreams were "dust." Just as the Ledge was set to collect dividends on years of dues paying, a musicians? strike imposed a network ban on live music. Because he'd played guitar on national TV, the Ledge was categorized "union." The variety show offers were postponed. By the time the strike was over, so was "Paralyzed." It was off the charts. Two followup singles flopped. Doppler-like, the Ledge zoomed off the nation's cultural radar as quickly as he?d arrived.
During his stay in Las Vegas, he met DJ-entrepreneur James Yanaway, who had a new label, Amazing Records, for which he recorded the Ledge?s first full-length album, Rock-It to Stardom (1984). Unlike the skeletal instrumentation on his early singles, this recording (and all his later waxings) employed a band -- a cookin? crew. Technique remained parked in the lobby; spontaneity was the prime directive. Some of it turned out all right, considering the chaotic conditions it was recorded under. The album includes a new version of "Paralyzed," recorded in 1981 with the LeRoi Brothers. As re-makes go, it?s nearly as vigorous as the original.
A crew of San Francisco-based musicians undertook the honor of backing the Ledge in his Bay area debut in early 1986. Later that year they joined him in the studio to record the album Retro Rocket Back to Earth for Spider Records. The repertoire is largely first-take, sloppy but spirited, with no overdubs. Our lost-in-space cowpoke betrays his Luddite leanings, proclaiming in one song title, "I Hate CDs," though it?s perhaps less the technology than certain personalities associated with it. "I hate those CDs that Bruce Springsteen put out," the Ledge howls, "He?s the number one reason why I hate CDs." The same entourage recorded The Legendary Stardust Cowboy Rides Again, but they couldn?t find an American company that would touch it. (The album was released on France?s New Rose in 1990.)
Nowadays, the Ledge lives in San Jose and works in Santa Clara for defense contractor Lockheed-Martin as a security guard. "Got a top secret clearance," he revealed. "They designed the Pathfinder spacecraft that landed on Mars." Odam's a meteorology freak -- his TV is constantly tuned to the Weather Channel. Despite his hatred of CDs, he bought a deck, primarily to listen to his favorite singers: Barbra Streisand, Dinah Washington, and Barry Manilow. "And don't forget Sinatra," the Ledge advised. "He's #1." He rarely performs in public anymore. And despite his loyal following, the Ledge will always be a taste some folks never acquire.
Legendary Stardust Cowboy -Rock It 2 Stardom (84 ^ 80mb)
01 Paralyzed-'80's
02 I Walk A Hot Wind
03 Radar
04 Fly Me To The Moon
05 I Took A Trip
06 Cast Iron Apron
07 Cactus
08 Shadow Of A Tiger
09 Who's Knocking On My Door
10 Brass Rainbow
11 Shootout On A CB Channel
12 Mr Songwriter
13 Dynamite
14 Crack Of Dawn
15 Rock- It To Stardom
xxxxx xxxxx xxxxx xxxxx xxxxx
25 Years Of Rockin? & Wreckin?
For fans of psychobilly, that insane subgenre of punk and rockabilly developed separately and simultaneously by the Meteors in England and the Cramps on the North American side of the Atlantic, this contains tracks of pure, power-driven, horror film-imaged psychobilly. It contains virtually every other act produced by the genre and some songs by bands -- like the Tailgators -- not normally associated with it. The Guana Batz are here, as are the Termites, the Frantic Flintstones, the Gazmen, just to name a few.
VA - This Is Psychobilly 1 (148mb)
01. The Meteors - Mutant Rock (2:23)
02. The Guana Batz - King Rat (2:35)
03. The Deltas - Heart Attack (2:22)
04. The Ricochets - Hit Man (2:20)
05. The Sharks - Charlie (2:06)
06. The Meteors - Johnny Remember Me (3:10)
07. King Kurt - Road To Rack & Ruin (3:10)
08. Torment - The Source (2:45)
09. The Pharaohs - Blue Egypt (3:42)
10. The Frantic Flintstones - Bedrock (1:56)
11. The Krewmen - Night Of The Living Dead (2:35)
12. Sugar Puff Demons - Mask (1:59)
13. Stage Frite - Island Of Lost Souls (3:01)
14. The Termites - Shout It Out Loud [(3:06)
15. The Tailgators - Godzilla (2:41)
16. The Meteors - Eat The Baby (3:18)
17. Sugar Puff Demons - Dance With The Dead (2:21)
18. The Radiacs - Hellraiser (2:21)
19. Stage Frite - Bad Moon Rising (2:30)
20. Batfinks - Raisin' Hell (2:18)
21. Mad Sin - Ride This Torpedo (2:42)
22. The Guana Batz - Shake It Up (3:12)
23. The Frantic Flintstones - Billy Overdose (4:50)
xxxxx xxxxx xxxxx xxxxx xxxxx
Source: http://rho-xs.blogspot.com/2011/02/rhodeo-1105-aetix.html
The Shins Throw Me the Statue The Remains of Brian Borcherdt The Rosebuds
The Pixies will be touring Canada in suppport of the 20th Anniversary of "Doolittle"
photo via The Coast
The Pixies are on there way to Canada in support of a tour for the 20th anniversary of their classic album Doolittle(via AUX.TV) They'll be going from coast to coast, and will be playing several dates around the Golden Horseshoe including April 17 in Kitchener at The Center in the Square, April 18 at Massey Hall in Toronto, and April 20 in Hamilton at Wentworth Room. Who's excited? I imagine this will sell out in minutes. Be half-prepared to be disappointed.
Source: http://mligon08.blogspot.com/2011/01/pixies-will-be-touring-canada-in.html
Intelligent Television is an Endangered Species
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The Smiths - Unreleased Demos and Instrumentals.
You may have noticed a considerable amount of excitement in the mainstream media including The Word Magazine, Rolling Stone, NPR (American public radio) and the Los Angeles Times in the latter part of December along with a good number of fellow music fan sites regarding the 'release' of a double album vinyl bootleg called The Smiths - Unreleased Demos and Instrumentals.Indeed such was the quality of this material, my first reaction when listening to it initially, was to check out if this was an official compilation and someone was having me on, regarding the material being a bootleg 'release'.
As a result of searching around online I have picked up a fair amount of additional information and my thanks go out to the many fans of The Smiths who have researched this (and whom I am unashamedly copying from in the details section below). The original vinyl rip was in mono and this is a vastly cleaned up version that improves the quality considerably. The 'informed view' is that the material must have come from somebody very close to the band, and be from source recordings (make of that what you will).
The original vinyl bootleg appears to have been a labour of love from persons unknown rather than any attempt to cash in on the bands unreleased material, the demand from fans and the knowledge that there are so many alternative versions gathering dust may have caused this well timed event to have occurred.
Source: Studio sessions (see details below).
Sound Quality: Very good stereo/mono mp3@320kbps.
Genre: Alternative rock, Indie pop and rock.
Sessions List:
01. The Hand That Rocks The Cradle (Demo)
02. Reel Around The Fountain (Demo)
03. Rusholme Ruffians (Demo)
04. The Queen Is Dead (Demo)
05. Sheila Take A Bow (Demo)
06. This Night Has Opened My Eyes (Demo)
07. Untitled One (Marr Instrumental)
08. Ask (Demo)
09. There Is A Light That Never Goes Out (Demo)
10. Is It Really So Strange? (Demo)
11. Frankly, Mr. Shankly (Demo)
12. Shoplifters Of The World Unite (Reprise)
13. Girlfriend In A Coma (Demo)
14. Death Of A Disco Dancer (Demo)
15. Paint A Vulgar Picture (Demo)
16. Untitled Two (Marr Instrumental)
Details:
As I understand matters Simon Goddard's book 'Songs That Saved Your Life' has been used to reference the following track by track information (with grateful thanks to the smiths recycle website from whom I have taken this in full).
1 The Hand That Rocks The Cradle (John Porter monitor mix)
Not much different from the final LP version, a monitor mix is a rough-and-ready mixdown done at the recording desk, mainly used by the band (and producer) to see what needs tightening/redoing (if anything) prior to the final mixdown.
2 Reel Around The Fountain (final Troy Tate mix)
Pretty self explanatory, the main difference between this blog's version and the bootleg version is the subtle guitar intro.
3 Rusholme Ruffians (early electric version, July 1984)
Goddard says the band originally attempted this in July 1984, several months prior to the main Meat Is Murder sessions. The very first July 1984 take stretched to nearly 7 minutes long (ding!), was much more rough/ready, and much more skiffle/rockabilly (ding!) than the final MIM track. Moz's vocal is really rough around the edges, it doesn't sound like he's fully worked out the melody or his phrasing, and the lyric itself isn't as tight as it would become. Based on this it can only be assumed the version here is the very same first take mentioned by Goddard.
4 The Queen Is Dead (original full-length unedited version)
Well, if the subtitle doesn't nail it down... the final album mix had several instrumental sections edited out at the last minute by the band and Stephen Street, as they felt it went on a tad too long. This is the full-calorie version.
5 Sheila Take A Bow (original John Porter recording, January 1987)
One of the more famous episodes in Smiths session history, this song was originally produced by John Porter, signed, sealed and delivered, ready to go. Then for whatever reason the band had a rethink, decamped to another studio with Stephen Street, and re-recorded the song (sampling some of Porter's guitar work in the process, to save time - which miffed Porter, understandably, since they never asked for permission). This original version is much more jangly, with Porter on emulated sitar, while the final Street take is all T.Rex'ed out. Honestly, I'd have to say I prefer the Street version, though that could be due to familiarity more than anything else (as I usually love Porter's stuff with Marr).
6 This Night Has Opened My Eyes (unreleased studio recording, June 1984)
The only released version of this song was recorded in September 1983 for a Peel session, at the BBC. For whatever reason the band chose to record a full-blown studio version in June 1984 during the William, It Was... sessions, but never did anything with it (it was meant to be a B-side along with the July '84 Rusholme Ruffians recording, backing a proposed-yet-binned Nowhere Fast single which also was recorded in June/July 1984). If anything, time gave Moz a chance to get a bit more confident with his vocal, but it's not significantly different overall. Still a nice find though...
7 I Misses You (unreleased instrumental, edit, December 1984)
Recorded during the final mixdown sessions for the Meat Is Murder LP. Goddard surmises that this may have even featured a Moz lyric at one point, but this is only supposition. A track that the band binned, honestly while interesting as any "new" Morrissey/Marr track might be, it would be moreso with a Moz lyric and is mostly forgettable.
8 Ask (probable first-ever take, 9 June 1986)
A very early, if not the first if Goddard's correct, run-through of this track missing most of the chiming/jangly guitars. This is a basic rough-and-ready bash it out take recorded by John Porter, with Marr and Gannon going at it on the rhythm guitars and Joyce getting all frenetic on drums. Wisely, a lot was tightened up as the session progressed; alas, this isn't the hoped-for "pre-Steve Lillywhite mix" fans hoped for (which sadly, according to Porter, doesn't exist because he never actually got the opportunity to mix it before Lillywhite got his hands on it and didn't understand the complex web of guitars Porter had built up).
9 There Is A Light That Never Goes Out (early take, September 1985)
A very early run-through with a relatively-confident Moz vocal, though it does feature the subsequently-omitted defining lyric "there is a light in your eye and it never goes out" during the final refrain. Missing most of Marr's overdubs, musically it sounds like a rough monitor mix of the basic Marr/Rourke/Joyce instrumentation, with the added synthetic string bits on the Emulator.
10 Is It Really So Strange? (unreleased studio take, June 1986)
Another track which has its only released version being a BBC session version, the known-and-loved release variant was recorded in December 1986 for John Peel at the BBC. Interestingly though, they did have a fully-recorded, mixed, release-ready take in the can, recorded during the Panic sessions in June 1986. For whatever reason it remained binned, to the point when it came time to select B-sides for the Sheila single in spring 1987, the band went to the (admittedly superior) Peel recording rather than the June 1986 studio take. This version is a bit more shimmery than the common version, and Marr's guitar is a bit more rhythmically choppy than the BBC take.
11 Frankly, Mr Shankly (unreleased Stephen Street "trumpets" recording, November 1985)
The story has it that when this song was recorded during the main sessions for the Queen Is Dead LP, with Street, there was a technical problem with the master reels for this track, necessitating an emergency call to John Porter to engineer an 11th hour re-recording in December 1985. What wasn't discovered (at least publicly), until Goddard dug it up, was that the "technical problem" was a bizarro trumpet part on the track. It does introduce an additional element of hilarity, but the final Porter recording nails it.
12 Shoplifters Of The World Unite (instrumental)
Goddard doesn't go into much detail into this track's session history, unfortunately. It's an instrumental, with some additional Marr-riffic guitars that are either obscured or wiped from the final recording, presumably due to Moz laying down his vocals on top. I do like Rourke's bass on this version however.
13 Girlfriend In A Coma (early take, January 1987)
While in studio with Street in January 1987 re-recording Sheila, the band took the time to lay down a couple takes of this track (prior to the main Strangeways sessions in April 1987). What sets this apart from the Strangeways version is the pronounced reggae-ness of the instrumentation (no, there aren't any steel drums). Goddard says the first two takes of this from the January '87 sessions featured this Jamaican interpretation, which we have here, and Moz's vocal is a bit rough around the edges (of course he'd tighten it up later on).
14 Death Of A Disco Dancer (first take, April 1987)
The find of the lot, in my book. This is markedly different from the final LP version, in that you can a) hear the song actually being structurally formed as it progresses, and b) Moz is audibly excited at the suspense and greatness of the track, this being the band's first run-through of it in studio, as per Goddard. All the musicians are in perfect synch with each other, you can just feel the bond between the members, as the song plays out. It's for things like this that I love the behind-the-scenes aspect of the recording business. If this were the only track leaked, I'd be happy.
15 Paint A Vulgar Picture (early take, April 1987)
Goddard says that this track went through several run-throughs before the final LP version, with entire Moz verses being chopped out. This doesn't feature the "missing Moz" which was compensated for by Marr's solo over that section on the LP version, but it does feature some unheard Mozwork with the title itself part of the lyric. If I read Goddard right, this take we have here would have been one of the very earliest ones.
16 Heavy Track (unreleased instrumental, April 1987)
Apparently this was recorded at the very beginning of the Strangeways sessions, before Moz turned up at the studio. It's the most musically different Smiths track of any of them, for all intents and purposes it sounds like Zeppelin (I can imagine Robert Plant wailing on top of it). Nothing shocking, nothing you'll kill yourself for not hearing over the past 23 years, it's still a nice one to have.
Website: Fan Site HERE. Morrissey Solo HERE.
Download links (two) in comments below.
Source: http://www.beehivecandy.com/2011/01/smiths-unreleased-demos-and.html
NEW Mogwai!!
It's odd to say that in many ways Scottish Post rockers MOGWAI have become predictable. One would have thought that this far into their career, releasing their seventh record entitled "Hardcore Will Never Die, But You Will", that the band would start to tinker around and experiment with their sound more. But true to form the band mines similar territory as their last two records. (ed note. I kind of ignored their last album outside of the single "The Sun Smells Too Loud").The opener, the misleading "White Noise", is a simple guitar and piano drone that leads us to "Mexican Grand Prix" which borrows a synth line from STEREOLAB over hushed vocals and KRAFTWERK like computerized voices. As is usually the case with Mogwai, the bass is the real star of the song. "Rano Pano" is the lead single and has all the earmarks of the harder, darker sound similar to MY BLOODY VALENTINE playing 70's classic rock. "San Pedro" could actually be a radio hit since it clocks in at under 4 minutes and has a nice hook (too bad there are no vocals to go with it). The closing half of the record has a lot of M83 touches to it with the finale "You're Lionel Ritchie" starting as a Disintegration-era CURE song before building to a massive wave of guitars, bass and drums.
"Hardcore Will Never Die, But You Will", is not going to add any fans to Mogwai's base. At this point, I don't think they care. I think what they do care about is refining, honing and polishing their sound for those who have already drank their brand of Kool-Aid.
(mp3) Mogwai -- Rano Pano
Source: http://feedproxy.google.com/~r/blogspot/sQBf/~3/tBbyoQMMIdQ/new-mogwai.html
You Sing I Write Wins Music Award!
I received an email last week informing me that You Sing I Write won a Web Excellency Award from Theater Seat Store!
When checking out the site for myself, they write:
"Sometimes it seems that everyone has an opinion about music. This award goes to those blogs who's opinions matter."
The site went on to explain their process of choosing the blogs that stand out for music coverage.
"The team has once again composed a list of the best blogs in music, this time focussing on the heavily-stamped ground of music reviews. We provide the unique sites below in one simple location for your review and enjoyment, while at the same time using the opportunity to award each for their fine writing skills and services to the sprawling world of music and, of course, the dear reader.
The amount of music review blogs out there is staggering to say the least ? from professional publications to personal journals, we focussed not on the size of the operation (or indeed the subsequent output) when choosing our award winners but on the sheer quality of content on offer. This will be manifestly apparent to anyone who takes the time to read them."
Thanks for all your support over the years! Mark your calendars for a special 3-year anniversary blog bash November 12th in Brooklyn. More details to come! To check out the other blog winners, visit Theater Seat Store.
Source: http://yousingiwrite.blogspot.com/2010/09/you-sing-i-write-wins-music-award.html
Sundaze 1107 Inside Out
Hello, my odyssey to get a new phone is still not over..duh. bought one today unpacked it - it was pink, ouch and worse it didn't have the promised jack input--those customised connection earphones are useless for me- one of my ears refuses to accept those buggers, and believe it or not, shops here dont sell bluetooth stereosets (idiots). Anyway i hope to buy a phone with a cinchjack soon, otherwise ill have to forgo on it all and buy a simple phone to make calls, maybe should do that anyway, because what i've read this week in reviews makes me wonder what kind of shambles phone production is these days. How come on tv and movies those things always work---except the occasional dramatic reception loss...duh again.
So, today another inside out this time on DMT, apparently easier to homecook then Meth but alas not that available at the moment. It's an amazing molecule not just because of the effect on our brains but because its present in ...everything that lives ! ..go figure. You might think that sciences are alll over it then, but you'd be wrong there..research is largely prohibited. Bizar or maybe it's just too frightning to the powers that be. Us humans can't handle the truth about the nature of reality ..and thus the insignificance of money and the powers that be..tsss
There's 2 documentairys you could watch thru Youtube or download directly here, there's 5 PDF's to be had on Ayahuasca and more, finally there's some trippy Sundaze music aswell with the Didgeridoo at it's center. The amazing Didgeri Dudes drone away in a cave whilst the Aboriginees prefer the land on top.. Should have posted that album in the Sunshine Australia cycle it's awesome, alas it was easy to pass likely because of its unassuming cover (mea culpa). In all i would think you'll have plenty to enjoy and ponder about..
xxxxx xxxxx xxxxx xxxxx xxxxx
Better known as DMT, dimethyltryptamine is the subject of Austin filmmaker Mitch Schultz's �ber-trippy examination of a drug found in nearly every living organism and considered the world's most powerful psychedelic. Combining stunningly psychedelic animation with thoughtful interviews, However, the concepts explored go well beyond psychedelics, and really addresses a new model of consciousness.
The film focuses on the research of Dr. Rick Strassman, a University of New Mexico psychiatry professor who dubbed DMT the "god molecule" or "spirit molecule." Over a five-year period in the 1990s, Strassman administered multiple doses of DMT to 60 human volunteers and interviewed them about their experiences while under the drug's influence. In some ways, the results were unsurprising. Many of the test subjects experienced the intense, bizarre visions and strange phenomena that are common during psychedelic drug use. But other results were startling. The DMT users spoke of entering windows into their own souls, questioning the nature of their own humanity and reaching deep levels of alternative consciousness they barely could describe. "To say the least," said one of them, "it was profound."
The Spirit Molecule also explores society's attitude toward psychedelic drug use, contrasting the strict anti-drug policy in the U.S. ? which bans not only psychedelic drugs, but also most scientific research into their effects ? with the far more tolerant attitudes in other parts of the world.
The documentary has a simple, straightforward structure. Comedian Joe Rogan introduces the film's basic concepts, which are fleshed out with dozens of talking-head interviews with Strassman, his study volunteers and others who have taken DMT, experts in medicine, neuroscience and social science, and even a theologian or two. (The Spirit Molecule may set a new record for the number of Ph.D.s interviewed in a single film.) The interviewees ask a lot of questions that even the best scientific and spiritual minds cannot answer: Are psychedelic drug trips merely hallucinations resulting from brain chemistry gone haywire, or do the drugs actually allow our brains to access parallel realities? What is the true nature of our souls?
recently made availble at YouTube in one part
or get it here The Spirit Molecule (DMT Ayahuasca Documentary) (2010) (FLV 113min, 234mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A more mystical approach bringing in ancient egypt and their obsession with the afterlife combined with our recent acknowledgement of what has been in our brains at least since we learned to enjoy mushrooms and that my friends was a very very long time ago..posted this 2 years ago over at Transgloballs
watch on YouTube in 5 parts, DMT - The Spirit Molecule Documentary
or get it here.
DMT The Spirit Molecule Doc. (Avi Xvid 48min, 144mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Rick Strassman - DMT, The Spirit Molecule (PDF 367 pages, 2mb)
The Spirit Molecule examines what we know about psychedelic drugs in general, and DMT in particular. It then traces the DMT research project from its earliest intimations through the maze of committees and review boards to its actual performance. The research subjects were healthy volunteers. The studies were not intended to be therapeutic, although all of us believed in the potentially beneficial properties of psychedelic drugs. The project generated a wealth of biological and psychological data, much of which I have already published in the scientific literature. (posted this 2 years ago over at Transgloballs)
xxxxx xxxxx xxxxx xxxxx xxxxx
Under the Earth Tones is the second album of experimental didgeridoo music by Jamie Cunningham and Brian Pertl, a.k.a. the Didgeri Dudes. The didgeridoo is an ancient Australian Aboriginal wind instrument that is capable of producing a wide variety of sounds utilizing combinations of pursed tones, harmonic manipulation, vocalizations, and circular breathing techniques. Using a sonic palette of traditional and modern didgeridoos made from wood, bamboo, plastic pipe, and cactus, the Didgeri Dudes and special guest Stuart Dempster paint ambient textures on the canvas of an abandoned two-million gallon underground water cistern at Fort Worden, near Port Townsend, Washington. This huge circular subterranean chamber boasts an extremely long reverberation of well over a minute requiring the musicians therein to play the acoustic space as an instrument. The recording was made during a marathon fourteen-hour session in the dank darkness of the cistern, illuminated only by the light that filtered through the small roof-top entrance. The effect of being totally immersed in pure sound for an extended period left the performers emotionally charged and euphoric at day's end. To recreate the dynamic and meditative ambiance of this incredible space, we recommend a quiet listening environment and high-quality speakers or headphones. No overdubbing, electronic effects, nor artificial reverberation was used in this stereo mix from the live four-channel digital recording. (from the liner notes)
Didgeri Dudes - Under the Earth Tones (97 156mb)
1. Magma {9:32}
2. Land of Snows {14:52}
3. Cosmic Frogs {7:56}
4. Orion Nebula {19:56}
5. Shudder {9:31}
6. Final Peace {8:19}
xxxxx xxxxx xxxxx xxxxx xxxxx
Just as the mythology of the Australian people and their continent was personified through the complex Aboriginal creation stories called The Dreamtime, the land also gave rise to a rich musical culture unlike any other. Australia: Sounds of the Earth captures the primordial hums and rhythms that have emerged from and moved across this continent in the four directions, like the winds themselves since The Dreamtime began. This recording features the didgeridoo, an Aboriginal wind instrument of remarkable flexibility and power, in traditional and innovative formats. Virtuoso solos by Aboriginal artist, David Hudson, are complemented by performances of up to four didgeridoo players accompanied by drums and electronics.
Tracing the development of an indigenous music firmly rooted in patterns of existence dictated by the rhythms of the land, Australia: Sounds of the Earth embraces Australia's musical past and present. The riveting performance of cellist Sarah Hopkins, acknowledges the debt 20th century composers owe to the influence of Aboriginal music. By utilizing a combination of bowing techniques and overtone singing, the Australian cellist emulates sounds of the didgeridoo. Producer, Steve Roach, blends the recordings from the outback with their haunting modern echoes by creating evocative soundscapes, and the illusion of a journey through time and space to the origins of these primal sounds. Excellent album, very trippy.
Steve Roach, David Hudson & Sarah Hopkins - Australia. Sound of the Earth (148mb)
01. Steve Roach - Red Dust and Sweat 10:45
02. David Hudson - Call to Kuranda 3:15
03. David Hudson - The Ancient Voice 3:10
04. Steve Roach & Sarah Hopkins - Atmosphere for Dreaming 7:52
05. Steve Roach & Sarah Hopkins - Darktime / The Initation 7:12
06. Sarah Hopkins - Origin 4:48
07. David Hudson - Spirits 3:19
08. David Hudson - The Hunter 3:02
09. Sarah Hopkins - Awakening Earth 14:10
10. David Hudson & Steve Roach - Land Sound / The Dreaming Place 5:14
xxxxx xxxxx xxxxx xxxxx xxxxx
Some info on the psychedelic nature of nature
Ayuhuasca (PDF collection) (29mb)
Ayahuasca - Vine Of The Soul
Ayahuasca - Scientific Investigation
Ayahuasca Visions, by Shaman Pablo Amaringo
Plants of the Gods - Their Sacred Healing and Hallucinogenic Powers
xxxxx xxxxx xxxxx xxxxx xxxxx
So, today another inside out this time on DMT, apparently easier to homecook then Meth but alas not that available at the moment. It's an amazing molecule not just because of the effect on our brains but because its present in ...everything that lives ! ..go figure. You might think that sciences are alll over it then, but you'd be wrong there..research is largely prohibited. Bizar or maybe it's just too frightning to the powers that be. Us humans can't handle the truth about the nature of reality ..and thus the insignificance of money and the powers that be..tsss
There's 2 documentairys you could watch thru Youtube or download directly here, there's 5 PDF's to be had on Ayahuasca and more, finally there's some trippy Sundaze music aswell with the Didgeridoo at it's center. The amazing Didgeri Dudes drone away in a cave whilst the Aboriginees prefer the land on top.. Should have posted that album in the Sunshine Australia cycle it's awesome, alas it was easy to pass likely because of its unassuming cover (mea culpa). In all i would think you'll have plenty to enjoy and ponder about..
xxxxx xxxxx xxxxx xxxxx xxxxx
Better known as DMT, dimethyltryptamine is the subject of Austin filmmaker Mitch Schultz's �ber-trippy examination of a drug found in nearly every living organism and considered the world's most powerful psychedelic. Combining stunningly psychedelic animation with thoughtful interviews, However, the concepts explored go well beyond psychedelics, and really addresses a new model of consciousness.
The film focuses on the research of Dr. Rick Strassman, a University of New Mexico psychiatry professor who dubbed DMT the "god molecule" or "spirit molecule." Over a five-year period in the 1990s, Strassman administered multiple doses of DMT to 60 human volunteers and interviewed them about their experiences while under the drug's influence. In some ways, the results were unsurprising. Many of the test subjects experienced the intense, bizarre visions and strange phenomena that are common during psychedelic drug use. But other results were startling. The DMT users spoke of entering windows into their own souls, questioning the nature of their own humanity and reaching deep levels of alternative consciousness they barely could describe. "To say the least," said one of them, "it was profound."The Spirit Molecule also explores society's attitude toward psychedelic drug use, contrasting the strict anti-drug policy in the U.S. ? which bans not only psychedelic drugs, but also most scientific research into their effects ? with the far more tolerant attitudes in other parts of the world.
The documentary has a simple, straightforward structure. Comedian Joe Rogan introduces the film's basic concepts, which are fleshed out with dozens of talking-head interviews with Strassman, his study volunteers and others who have taken DMT, experts in medicine, neuroscience and social science, and even a theologian or two. (The Spirit Molecule may set a new record for the number of Ph.D.s interviewed in a single film.) The interviewees ask a lot of questions that even the best scientific and spiritual minds cannot answer: Are psychedelic drug trips merely hallucinations resulting from brain chemistry gone haywire, or do the drugs actually allow our brains to access parallel realities? What is the true nature of our souls?
recently made availble at YouTube in one part
or get it here The Spirit Molecule (DMT Ayahuasca Documentary) (2010) (FLV 113min, 234mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
A more mystical approach bringing in ancient egypt and their obsession with the afterlife combined with our recent acknowledgement of what has been in our brains at least since we learned to enjoy mushrooms and that my friends was a very very long time ago..posted this 2 years ago over at Transgloballs
watch on YouTube in 5 parts, DMT - The Spirit Molecule Documentary
or get it here.
DMT The Spirit Molecule Doc. (Avi Xvid 48min, 144mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Rick Strassman - DMT, The Spirit Molecule (PDF 367 pages, 2mb)
The Spirit Molecule examines what we know about psychedelic drugs in general, and DMT in particular. It then traces the DMT research project from its earliest intimations through the maze of committees and review boards to its actual performance. The research subjects were healthy volunteers. The studies were not intended to be therapeutic, although all of us believed in the potentially beneficial properties of psychedelic drugs. The project generated a wealth of biological and psychological data, much of which I have already published in the scientific literature. (posted this 2 years ago over at Transgloballs)
xxxxx xxxxx xxxxx xxxxx xxxxx
Under the Earth Tones is the second album of experimental didgeridoo music by Jamie Cunningham and Brian Pertl, a.k.a. the Didgeri Dudes. The didgeridoo is an ancient Australian Aboriginal wind instrument that is capable of producing a wide variety of sounds utilizing combinations of pursed tones, harmonic manipulation, vocalizations, and circular breathing techniques. Using a sonic palette of traditional and modern didgeridoos made from wood, bamboo, plastic pipe, and cactus, the Didgeri Dudes and special guest Stuart Dempster paint ambient textures on the canvas of an abandoned two-million gallon underground water cistern at Fort Worden, near Port Townsend, Washington. This huge circular subterranean chamber boasts an extremely long reverberation of well over a minute requiring the musicians therein to play the acoustic space as an instrument. The recording was made during a marathon fourteen-hour session in the dank darkness of the cistern, illuminated only by the light that filtered through the small roof-top entrance. The effect of being totally immersed in pure sound for an extended period left the performers emotionally charged and euphoric at day's end. To recreate the dynamic and meditative ambiance of this incredible space, we recommend a quiet listening environment and high-quality speakers or headphones. No overdubbing, electronic effects, nor artificial reverberation was used in this stereo mix from the live four-channel digital recording. (from the liner notes)
Didgeri Dudes - Under the Earth Tones (97 156mb)
1. Magma {9:32}
2. Land of Snows {14:52}
3. Cosmic Frogs {7:56}
4. Orion Nebula {19:56}
5. Shudder {9:31}
6. Final Peace {8:19}
xxxxx xxxxx xxxxx xxxxx xxxxx
Just as the mythology of the Australian people and their continent was personified through the complex Aboriginal creation stories called The Dreamtime, the land also gave rise to a rich musical culture unlike any other. Australia: Sounds of the Earth captures the primordial hums and rhythms that have emerged from and moved across this continent in the four directions, like the winds themselves since The Dreamtime began. This recording features the didgeridoo, an Aboriginal wind instrument of remarkable flexibility and power, in traditional and innovative formats. Virtuoso solos by Aboriginal artist, David Hudson, are complemented by performances of up to four didgeridoo players accompanied by drums and electronics.
Tracing the development of an indigenous music firmly rooted in patterns of existence dictated by the rhythms of the land, Australia: Sounds of the Earth embraces Australia's musical past and present. The riveting performance of cellist Sarah Hopkins, acknowledges the debt 20th century composers owe to the influence of Aboriginal music. By utilizing a combination of bowing techniques and overtone singing, the Australian cellist emulates sounds of the didgeridoo. Producer, Steve Roach, blends the recordings from the outback with their haunting modern echoes by creating evocative soundscapes, and the illusion of a journey through time and space to the origins of these primal sounds. Excellent album, very trippy.
Steve Roach, David Hudson & Sarah Hopkins - Australia. Sound of the Earth (148mb)
01. Steve Roach - Red Dust and Sweat 10:45
02. David Hudson - Call to Kuranda 3:15
03. David Hudson - The Ancient Voice 3:10
04. Steve Roach & Sarah Hopkins - Atmosphere for Dreaming 7:52
05. Steve Roach & Sarah Hopkins - Darktime / The Initation 7:12
06. Sarah Hopkins - Origin 4:48
07. David Hudson - Spirits 3:19
08. David Hudson - The Hunter 3:02
09. Sarah Hopkins - Awakening Earth 14:10
10. David Hudson & Steve Roach - Land Sound / The Dreaming Place 5:14
xxxxx xxxxx xxxxx xxxxx xxxxx
Some info on the psychedelic nature of nature
Ayuhuasca (PDF collection) (29mb)
Ayahuasca - Vine Of The Soul
Ayahuasca - Scientific Investigation
Ayahuasca Visions, by Shaman Pablo Amaringo
Plants of the Gods - Their Sacred Healing and Hallucinogenic Powers
xxxxx xxxxx xxxxx xxxxx xxxxx
Source: http://rho-xs.blogspot.com/2011/02/sundaze-1107-inside-out.html
The Main Drag The Gloria Record Fire Zuave Florence and the Machine
Sunday, February 27, 2011
Miranda Lambert Kicks Off Revolution Tour
David Nail and Lady Antebellum were spotted in the crowd, as was Josh's wife, actress Katherine Heigl, who danced along to most of Miranda's set. On the heels of their Beacon Theater performance, Lady A and David opted to spend an extra night in New York to catch the show before flying to St. Louis to continue their current headlining tour.
The first day of the tour, Miranda confessed she missed sound check and instead spent the night in Nashville to celebrate fianc� Blake Shelton's induction into the Grand Ole Opry.
For the complete review, visit The Boot.
Source: http://yousingiwrite.blogspot.com/2010/09/miranda-lambert-kicks-off-revolution.html
The Siddeleys Labrador (band) The Magic Numbers The Go! Team
On This Day In Oasis History...
Standing On The Shoulder Of Giants is the fourth studio album by the English rock band Oasis, released on February 28, 2000. In 1999, the year preceding the final release of this album, Oasis had lost two founding members (Paul "Bonehead" Arthurs and Paul "Guigsy" McGuigan) and hired a new producer (Mark "Spike" Stent). As a result of these changes, the album's tone was more experimental, with electronica and psychedelic influences. The darker feeling and psychedelic tone of this album is a departure from earlier Britpop-influenced Oasis records.
Songs such as the Indian-influenced "Who Feels Love?", the progressive "Gas Panic!" and the electronica "Go Let It Out" depart from Oasis' old Britpop style. The album was the sixth fastest selling album in UK chart history, selling over 310,000 copies in its first week. Despite becoming their fourth number one album in the UK, it is one of the band's lowest-selling albums, selling only 3 million copies worldwide.
Trivia
The album's title was taken from the words of Sir Isaac Newton: "If I can see further than anyone else, it is only because I am standing on the shoulders of giants". Noel Gallagher saw the quote on the side of a �2 coin whilst in a pub and liked it so much he thought it would be a suitable name for Oasis' new album. He then wrote the name on the side of a cigarette packet whilst drunk. When he awoke in the morning, he realised he had written "Standing on the Shoulder of Giants ? A Bum Title".
Due to the departure of Bonehead and Guigsy from the band whilst the album was in production, their parts had to be re-recorded, for legal reasons. Thus, the album only features the Gallagher brothers and Alan White. The sleeve of the album also features them.
The first track, "Fuckin' in the Bushes", is featured on the soundtrack for the film Snatch, and is regularly used in introductions for high-tempo events, due to its quick tempo and loud volume.
In the April 2006 issue of Q magazine, the album was the only Oasis record to feature in a countdown of the "50 worst albums of all time". It was placed at number 46 and described as "the low point of their fallow years", despite the fact that the album had been favourably reviewed in the magazine at its time of release and featured in the magazine's "50 Best Albums of 2000" list. In response to the Q feature, Noel has said, "Even though it wasn't our finest hour, it's a good album born through tough times. I worked harder on that album than anything before and anything since."
A notable B-Side was Lets All Make Believe. This song was on the Go Let It Out single and is said to be one of the bands finest songs. Q Magazine declared it the greatest ever "lost" track in the February 2007 issue and said that if it was on the album it would have carried "an extra star" on the review. Q gave this album 4 Stars back in 2000, meaning an extra star would be 5 stars. So with Lets All Make Believe on the album, according to Q magazine's logic, SOTSOG would have been a 5 star classic.
Track listing
01: "Fuckin' In The Bushes"
02: "Go Let It Out"
03: "Who Feels Love?"
04: "Put Yer Money Where Yer Mouth Is"
05: "Little James"
06: "Gas Panic!"
07: "Where Did It All Go Wrong?"
08: "Sunday Morning Call"
09: "I Can See A Liar"
10: "Roll It Over"
Demos
A bootleg of demo sessions recorded for this album was leaked onto the internet in January 2000. Most of these songs were recorded by Noel Gallagher with the help of a couple of friends in his home studio at Supernova Heights and at Oasis' own Wheeler End Studios complex. All of the songs, apart from "Little James", were sung by Noel.
The tracklisting of the demo bootleg is:
"Carry Us All"
"Who Feels Love?"
"Fuckin' in the Bushes"
"Little James"
"Gas Panic!
"Put Yer Money Where Yer Mouth Is"
"Sunday Morning Call"
"I Can See a Liar"
"Go Let It Out"
"Roll It Over"
"Revolution Song"
"Where Did It All Go Wrong?"
"(As Long As They've Got) Cigarettes in Hell"
"Just Getting Older"
"Let There Be Love"
At the time of the leak, four songs ("Carry Us All", "Revolution Song", "Just Getting Older" and "Let There Be Love") were not scheduled for release on either the album or as B-sides on the new single "Go Let It Out". These songs were also completely undocumented, apart from "Revolution Song", which had been mentioned by author Paolo Hewitt in his 1999 book Forever the People ? Six Months on the Road with Oasis. As such, these four songs had made-up titles based on commonly-repeated phrases mentioned in the songs. Whilst "Carry Us All" and "Just Getting Older" were correctly guessed, the other two tracks were given titles which, in time, would prove to be incorrect. "Revolution Song" was given the title "Solve My Mystery" and "Let There Be Love" was given the title "It's a Crime". "Let There Be Love" was released on Don't Believe the Truth. Because Noel mentioned in a February 23, 2000 interview with Melody Maker magazine that "Revolution Song" had been demoed ? but not released because Blur had recently released a similar sounding song ? it can be assumed that these titles are correct.
Currently, only one song ("Revolution Song") remains commercially unreleased.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Source: http://stopcryingyourheartoutnews.blogspot.com/2011/02/on-this-day-in-oasis-history_28.html
Vampire Weekend[1] Young and Sexy The Main Drag The Gloria Record
Geoff Davin - Breakline
Geoff Davin - Breakline
2011, Geoff Davin
Geoff Davin was bitten by the music bug early on, writing songs from the tender age of five. A professional actor from the age of fourteen, Davin moved to New York after high school and attended the C.A.P. 21 Studio at NYU?s Tisch School of the Arts. Davin appeared in a number of shows both in New York and across the country, but a workshop production of Pearl Heart broke the dam for Davin?s love of country music. Moving to Nashville, Davin threw himself into the music the same way he?d earlier immersed himself in the stage. Two years later, Davin has the fruit of his labors ready for the world. His debut album, Breakline, eschews the cookie-cutter pop/country mould and goes for a classic-yet-fresh blend of country, southern rock and R&B.
Davin opens with some filthy-good slide guitar work; the introduction to the blend of soul, rock and honky-tonk that is "Sounds Of A Summer Night". This might just be the ultimate back-country party song. "Sounds Of A Summer Night" is so infectious it's being tracked by the CDC, but may be quite difficult to slot into a format for commercial radio. This one has hit written all over it; release it on the cusp of summer and you may have a single that stays in heavy rotation until Labor Day. "Bow Chicka-Wow-Wow" is incredibly catchy rock n roll that's full of innuendo and fun. The song avoids clich� while playing off a stereotype. You know what it's about from the title alone, but Davin manages to surprise you with how bloody well written it is nonetheless.
"Shine!" tells the story of two star-crossed souls who fall in love. He's deeply devoted, but she has dreams that will take her far beyond his reach. "Shine!" explores the mixture of love, sorrow and regret over the wistful desire to be in one place but the inevitable need to be in another. "Cora Lee Five" is all about a woman who chews men up and spits them out without conscience or thought. Davin continues to surprise with an ability to churn out catchy country/soul/rock hybrids with a frequency that's nearly frightening. "Cross My Mind" is pure 1970's soul with a dose of Black Crowes thrown in for good measure. Engaging and catchy in spite of the mid-tempo presentation, "Cross My Mind" has some serious chart potential in its exploration of the echoes of love that reverberate long after reason is gone.
"Somebody Like Me" is an 'opposites attract' story-song done in outlaw country style. He's a rocker-boy and she's Harvard educated. Together they explore a path full of surprising connections and unlikely agreements from two theoretical ends of the social world. This one is hopeful with attitude, and will get stuck in your skull. "Regret" is deep and soulful in a powerful 1970's soul arrangement. Davin's voice is generally a pleasure, but on this song he raises it to the level of amazing, and his backup vocalist matches him note for note. "Breakline" is about as catchy as a song can legally be; another potential hit for Davin. The song tells the story of a road man and the inspiration that keeps him driving when all else fails. Breakline closes with "Long Way", a quietly celebratory song on 'making it', whatever that may mean to you. The song is very well written and uplifting, and is the sort of song that causes the house to be dappled with thousands of specks of light in concert.
Geoff Davin is the real deal, blending country, soul, rock and R&B into music so catchy and uncontrived you can't help but sing, dance or move along. If Davin doesn't make it big it will be ultimate indictment of the music industry. While Davin doesn't slot easily into one commercial radio format, the songs on Breakline are of such quality and a mix of styles that Davin could rule several charts at once. Breakline is a must-have album, but for what it is and for what Davin just might become.
Rating: 5 Stars (Out of 5)
Learn more about Geoff Davin at http://www.geoffdavin.com/ or www.myspace.com/davincountry. Breakline is available from Amazon.com as a CD
or Download. The album is also available from iTunes.
or Download. The album is also available from iTunes.
Source: http://wildysworld.blogspot.com/2011/02/geoff-davin-breakline.html
Vampires + Country Music = Cool!
A bit surprisingly, it's country music time. I have been enjoying the TV show True Blood lately, and the theme song, Bad Things by Jace Everett. It is a really charming country song. I hear rockabilly in it as well as a great dark psychedelic vibe. Everett's voice is also lovely. All in all, cool song, and really catchy!
Source: http://thoughtsonmelody.blogspot.com/2010/12/vampires-country-music-cool.html
TEN TEN
TEN TEN was an American NEW WAVE Band hailing from Richmond Virginia that was formed back in 1984 and composed of MARK LEWIS on Lead Vocals/Guitar, PETER BELL on Bass, LEE JOHNSON on Drums/ Percussion, and DON RUZEK on Keyboards /Guitar. Today is 10/10/10 so I decided to feature TEN TEN here on "The Doctor Is In" and It's also 10:10 pm so let's start the clock ticking again for another blogpost. TEN TEN was introduced here in MANILA by WXB102 back in 1986 by playing the song "WHEN IT RAINS". YUP!! It is considered as an XB Classic and a favorite among PINOY NEW WAVERS. This song was also played on NU107 and had massive airplay on POWER 105 DZBM era 1988-1990 when XB said goodbye back in 1987. Definitely one song that made a mark for the band here in MANILA back then if you're talking about deep New Wave since the popularity of the song nor the band didn't made it in the line of mainstream. Coming from a region where Power Pop was the in-thing, these guys has their own repertoire that can produce good melodic music. The Lead Vocalist Mark Lewis had a band called "The Dads" before forming TEN TEN. It was 1984 when TEN TEN released their very first LP entitled "Ordinary Thinking" which landed them on a Major Label Record deal with CHRYSALIS RECORDS few months after It's release.
CHRYSALIS RECORDS would then break TEN TEN into the GERMAN MARKET with the released of their 1986 "WALK ON" LP that was produced by Stephen Street and recorded in Holland that included the single "WHEN IT RAINS". When I first heard this song on WXB102 back in 1986, I hunted down the Vinyl Record on the nearest record bar to my disappointment the Cassette Tape was the first one released here in MANILA back then so I just have to buy first the tape. Of course, I was able to buy the "WALK ON" Vinyl Record too. YUP!! The photo above are my Cassette Tape and Vinyl Record of TEN TEN's "WALK ON" which are still both intact. A must have for PINOY NEW WAVE Collectors indeed just to bring back the good old days. CHRYSALIS RECORDS even tried to sell TEN TEN as the American U2 but didn't materialized. The Music Video of "WHEN IT RAINS" was aired on MTV on 1986, but the entire "WALK ON" album didn't go anywhere the charts even though there are great songs on it. DZBM POWER 105 then introduced the second TEN TEN song on MANILA's airwaves back in 1988 with "RAGS" which was incidentally a favorite of the Late POWER 105 DJ TAZMANIAN DEVIL. Btw, TAZ passed away last MAY 2010. "RAGS" had also massive airplay on POWER 105 back then. Two more songs from this classic album made it to the POWER 105 playlist but really didn't made any impact and these were "THERE GOES EVERYTHING" and "BEYOND ME". Although there was a revival song in the album entitled "MILLION MILES WAY", It never made it to these MANILA New Wave Radio Stations back in the 80s. TEN TEN's "MILLION MILES AWAY" was originally done by "THE PLIMSOULS" back in 1983. I just noticed that the title of THE PLIMSOULS' song was "A MILLION MILES AWAY" while TEN TEN's was "MILLION MILES AWAY" removing the "A". Btw, the song of THE PLIMSOULS was included on the classic 80s VALLEY GIRL original motion picture soundtrack. TEN TEN had also toured with Pete Shelley, The Waterboys, and Simply Red around 1985-1986.
WALK ON
Tracklist
SIDE A
1) When It Rains
2) There Goes Everything
3) Rags
4) The One In You
5) Where The Flowers Grow
SIDE B
1) One Life
2) Beyond Me
3) Walk On
4) Million Miles Away
5)Silver Heaven
Sorry guys but due to the DMCA thing I can't upload the album for you. I really love this album and aside from the songs I've already mentioned, the rest are pretty good and catchy too.
Sadly, the band just disappeared from the world of music. Well, there were news that there might be a One Gig TEN TEN Reunion in their hometown in Virginia since Mark Lewis currently works as a producer/engineer based in New York. But we still don't know if this would push through.
LISTEN to "RAGS" here:
courtesy of JAMR1977
Here's the MTV of "WHEN IT RAINS":
courtesy of Dexbam
Btw, speaking of TEN TEN, did you ever noticed that when you buy a watch or a wall clock the time indicated on the display is 10:10? That's a photo of a Pediatric Clock we have. It has been suggested that the 10:10 time position is used because it resembles a smile thus the so-called "SMILE THEORY" evolved. On the otherhand, according to Thomas A. Frank most manufacturers trademarks are just above the center pipe, and having the hands at 10:10 causes your eye to naturally follow to the trough, thus bringing your view right to the Model name or the trademark which is often centered under the center pipe, ruling out any hand more or less straight down (between 5 and 7). Usually the Date Windows are located at 9 or 3, and subsidiary seconds usually at 6. For aesthetic reasons you want the two hands neither nearly covering each other nor nearly in a straight line. Interesting info for today's 10/10/10 blogpost. YUP!! It's "The Dr Stirring Rhod Way" of featuring 10/10/10 because this does not happen frequently right? Well by default, 10:10 looks better and pretty good.
This morning there was a major event here in MANILA called "A Run For The Pasig River 10.10.10" which is a drive to save Pasig River and restore It's Beauty which was described by Philippine National Hero DR. JOSE RIZAL in his novels. As of now, Pasig River is really polluted. Hopefully, something will change after this event.
I guess, that's all for today my dear readers and supporters. It's about a band called TEN TEN posted on 10:10 pm on 10/10/10. Interesting Isn't it? I hope you enjoyed your stay. THANKS AGAIN for dropping by!!
Today is 10/10/10
It's 10:10 pm
Walk On TEN TEN!!
-DR. STIRRING RHOD
Watch Dave Berry Interview Beady Eye
Liam Gallagher, Andy Bell and Gem Archer came into Xfm Towers to talk to Xfm's Dave Berry about their debut album 'Different Gear, Still Speeding', where the name "Beady Eye" came from and what happens when a rock superstar plays knock and run at your house.
Visit my newly launched Beady Eye fan site www.standingontheedgeofthenoise.com by clicking here.
Source: http://stopcryingyourheartoutnews.blogspot.com/2011/02/watch-dave-berry-interview-beady-eye.html
Saturday Looks Good to Me Television Personalities The Fiery Furnaces Someone Still Loves You Boris Yeltsin
The Genius of Mike Batt
Mike Batt wrote the theme song for the Wombles TV show. After that, Batt made four full albums of Wombles music which became very succesfull. Mike Batt (under the title ?the Wombles?) even ended up spending more weeks on British charts than any other artist in 1974. The attention was well-deserved. Batt's songwriting was very good and his range of musical styles varied from Mozart to surf pop. There were live concerts, performed by professional session musicians wearing Womble costumes. Batt also starred at the concerts playing the role of one of the Womble characters.
Mike Batt doesn't seem to be too enhusiastic about his Wombles music anymore. I read that this is why the gold-selling Wombles albums haven't been re-released on CD. Therefore they will probably not be released anytime soon... Such great bubblegum music would definitely cheer anyone up and be of great value in nostalgic sense... Not to mention how much people of younger generations (such as myself) would enjoy it! Great music for both children and adults... What else do you need?
Update (12/05/10): I'm so happy! They ARE going to be released after all!
Before the Wombles albums come out I'll get myself some of Mike Batt's later solo material... I looked at Batt's musical life story and it was really amazing. He has been all around the world, worked with symphony orchestras and million-selling artists ? written some of their million-selling hits, of course... People seem to think Batt is a very underappreciated songwriter. I wonder if many people in general even have heard about him, considering how much he has achieved. One thing is for sure: writing four albums and eight hit singles for the Wombles doesn't look all that huge anymore when you think about all of the things Batt has done during his life.
But I still love those awesome Wombles tracks. Listen to some!
Womble Of The Universe
Nonstop Wombling Summer Party
The Wombling Song
Remember You're a Womble
Dreaming in the Sun
Banana Rock (Check out that accent...)
Minuetto Allegretto
Wombling Merry Christmas (Awesome Christmas song!)
Before the Wombles albums come out I'll get myself some of Mike Batt's later solo material... I looked at Batt's musical life story and it was really amazing. He has been all around the world, worked with symphony orchestras and million-selling artists ? written some of their million-selling hits, of course... People seem to think Batt is a very underappreciated songwriter. I wonder if many people in general even have heard about him, considering how much he has achieved. One thing is for sure: writing four albums and eight hit singles for the Wombles doesn't look all that huge anymore when you think about all of the things Batt has done during his life.
But I still love those awesome Wombles tracks. Listen to some!
Womble Of The Universe
Nonstop Wombling Summer Party
The Wombling Song
Remember You're a Womble
Dreaming in the Sun
Banana Rock (Check out that accent...)
Minuetto Allegretto
Wombling Merry Christmas (Awesome Christmas song!)
Source: http://thoughtsonmelody.blogspot.com/2010/12/genius-of-mike-batt.html
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