The Detroit Cobras – Cha Cha Twist
The band’s biggest fan detroitcobracovers.blogspot writes about this track below;
Song: Cha Cha Twist
Artist: Brice Coefield
Written: Hank Ballard
Year : 1960
Album/Single: Madison # 137
Cobra’s Version
Song: Cha Cha Twist
Released: February 24th, 1998
Album: Mink Rat or Rabbit
While I can not find any specific information on today’s selection, I have found some information on Brice Coefield.
Quite frankly, the man was involved with some legendary names in the music industry – “Bumps” Blackwell (songwriter and producer of Little Richard), Herb Alpert (co-founder of A&M records, legendary trumpet player), Lou Adler (producer for, among others, Sam Cooke, Mama’s & Papa’s, the Monterrey Pop Festival) & Phil Spector (I don’t need to explain who he is, do I?). Draw your own conclusion as to why, with all these talented people around him, he wasn’t more successful himself.
He started off in 1955 in Los Angeles with his cousin, Rip Spencer, in a variety of vocal groups. It was Brice’s father who, through jazz pianist Lloyd Glenn, that put them in touch with “Bumps” Blackwell. Calling themselves the “Valiants”, they actually were the first to release “Good Golly, Miss Molly”, one of the songs Bumps had written (Little Richard had recorded it before them but the Valiants were the first to actually release it).
It was the flip side of one of two records they would every have chart – “This is the Night” (#43 R&B / #69 Pop). The other chart success they enjoyed was as members of the Alley Cats with “Puddin N’ Tain” – released in 1962 on Phil Spector’s Phillies Label (Brice was a co-writer of the song as well).
This brief bio was culled from Marv Goldberg’s excellent R&B Notebook – check it out for yourself.
Brice had 5 records released on the Madison label from 1960 to 1961. Four were as a member of the “Valiants”, with today’s record being released simply as “Brice Coefeild”.
Interestingly enough, despite the thoroughness of the aforementioned Marv Goldberg’s R&B Notebook, there is no mention of this record. The song writing credits go to the legendary Hank Ballard (thought jazz keyboardist Les McCann sometime get’s credit for writing it as well).
I would have to assume it was recorded/released late in 1960, to capitalize on the success of Chubby Checker’s massive hit earlier in the year – “The Twist” (which was also written by Hank Ballard!).
(Cha Cha Cha)
(Cha Cha Cha)
(Cha Cha Cha)
Come on baby
Let’s do the Twist
Come on baby
Let’s do the Twist
You look fine, yeah
when you go like this
Tell me, baby
Have you seen my sis ?
Tell me, baby
Have you seen my sis ?
She knows how to rock
and do the Cha Cha Twist
Hully, hully gully
Slop and Madison, too
When you do the twist
to a beat like this
You can Cha Cha with your baby too
Your Papa’s sleeping
and your Mama’s not around
Your Papa’s sleeping
and your Mama’s not around
Well come over here, baby
we’re gonna tear the house down
Hully, hully gully (shake your shoulders)
Slop and Madison, too (hit it)
When you do the twist
to a beat like this
You can Cha Cha with your baby too
Your Papa’s sleeping
and your Mama’s not around
Your Papa’s sleeping
and your Mama’s not around
Come on baby
we’re gonna tear the house down
Oh yaa Twist
Hey baby
The Cobra’s take on “Cha Cha Twist” both speeds the song and rocks it up courtesy of classic Detroit garage guitar crunch. What’s interesting on the original is all the stuff going on in the background – all the “Oooohhhhh Aaahhhh”, “Cha Cha Cha” and “Wuh Wuh” vocals that run throughout the song. If you listen closely to the Cobra’s
version you will hear them doing similar things, but buried much deeper in the mix.
I understand this was used for a Diet Coke commercial a few years back. Never saw, but it had to be cool.
They did shoot a video for “Cha Cha Twist” (their only video ?) with Meg White as “Little Red Riding Hood”. Interestingly enough, it seems to be a different version of the song that was released on “Mink Rat or Rabbit”.
Some Cobras links:
- Profile on the Bloodshot site
- antigravity magazine – Interview with Rachel Nagy (page 21)
- Interview with lead singer Rachel Nagy, October 2, 2006
- Interview with lead singer Rachel Nagy, September 26, 2005
- NPR Interview with Rachel and Mary, July 15, 2007
- Interview with Rachel Nagy on HEAVEmedia
The Detroit Cobras – Cha Cha Twist
save
The Go-Betweens – John Peel Session – July 1982
The Go-Betweens – John Peel Session; 14th July 1982
Along with “Ask” from the Before Hollywood LP, there are three rare tracks.
All thanks to fruitierthanthou who says;
I have always been a big GO-BETWEENS fan ever since I heard “People Say” which is just one of those things I would have given anything to have written.
Grant McLennan’s passing away a few years ago was just one the saddest things, more so, as it meant no more GO-BETWEENS records.
I remember when I heard the news I welled up with sadness searching youtube & finding Grant camping up “Cattle & Cane”
here… A song I am sure would have made me a bona fide GO-BETWEENS if I hadn’t heard “People Say” first.I suppose this is as good as any point, recounting my GO-BETWEENS anecdote.
In fact it doesn’t involv
e Grant or Mr Forster. It was at a GO-BETWEENS gig, upstairs at the Hammersmith Clarendon Hotel. I was trying to persuade Mr Fish, THE JAZZ BUTCHER into giving a song for a cassette compilation I was involved in. THE JAZZ BUTCHER were supporting that night. From a distance, Lindy Morrison comes hurtling towards us like the Hanna Barbera Tasmanian devil.. “I know you!!!” (She didn’t), “I know you!!!!” (She really didn’t!) & before I could consume a decent lungful of oxygen she grabbed me & gave me a great big tonguey snog. I mentioned, before I could consume a decent lungful for oxygen because she nearly suffocated me. She finally let me go, oxygen slowly returning to my arteries, part startled, part aroused, I managed to say “Thank you” in the voice of a schoolboy still not expecting his testicles to drop for good few years… When I have recounted this to other indie “kids” I have found this is not just MY anecdote .. Ho hum!!I was thinking about that gig (which was pretty good as I remember) & found I had already loaded this John Peel session on to my PC. I think it was their first … Enjoy.
NOTE:
Nick Cave, with Die Haut – Sad Dark Eyes / Pleasure is the Boss
Berlin Tempodrome,
24 August 1992
“My view of Die Haut is they have a great love of guitars – they’re a guitar orientated group. I love singing behind a barrage of ugly, dirty guitars.”
- Nick Cave, on Die Haut, 1992
“Sad Dark Eyes” is an amazing blues-rock/pop 1966 song by influential Australian band The Loved Ones.
The Loved Ones were formed in Melbourne in 1965 by Gerry Humphreys, Ian Clyne and Kim Lynch.
I look at you in your sad dark eyes
And your gypsy face with your Spanish grace
With your words like rhymes and your voice like chimes
Die Haut first covered the song on their 1988 LP Headless Body In Topless Bar with Mick on vocals.
Die Haut recorded this live version on the LP Sweat – Live at Berlin Metropol, August 24, 1992, and Apeldoorn August 1992
More details on this vid below from the great Cave resource, nickcavefixes.wordpress
Line Up:
Die Haut:
Christoph Dreher – Bass;
Rainer Lingk – Guitar;
Jochen Arbeit – Guitar;
Thomas Wydler – Drums.Nick Cave – Guest Vocalist.
GIG NOTES:
This is one of my all-time favorite Nick Cave performances. Unbelievably good.
Die Haut members are connected to Nick Cave and two of his Bad Seeds, Blixa Bargeld and Thomas Wydler.
Die Haut’s founder, Christoph Dreher, directed Bad Seeds videos ‘Tupelo’ and ‘The Singer’ and was Nick’s Cave flat-mate while he lived in Berlin.
Jochen Arbeit joined Blixa Bargeld’s now-legendary band, Einstürzende Neubauten, in 1993.
Finally, Thomas Wydler, Die Haut drummer since 1982, continues to perform with Nick Cave & the Bad Seeds.
Link: Die Haut Discography
Source: Sweat (WSFA 140V/Triple X 51184-3, 1993) — live video from Tempodrom, Berlin, August 1992, 66 minutes; directed by Rolf S. Wolkenstein
The Pixies Acoustic at the 2006 Newport Folk Festival
Vid from Train422 who says;
The only acoustic performance by the Pixies on their 2005/6 Tour appearing at the Newport Folk Festival. I shot this myself, and although a little shaky in parts (because of fatigue) it is well worth a look…
Pixies – Acoustic (Live in Newport) [2006]
mp3 | 192kpbs | 73:43 min.
“No! That’s just not right! The Pixies opening for us is like the Beatles opening for us. I won’t allow it. There’s no way we can follow the Pixies!”
- Thom Yorke
(on being informed of plans to have Pixies play before them at Coachella)
An amazing group we’ve loved from the earliest days of the incendiary “Come on Pilgrim” EP through to the seminal,revolutionary, timeless wonder of Surfer Rosa – which shone like a raw, rupturing beacon of raging, cleansing fire amongst the music morass of the times! – on to the three fine LPs beyond.
Initially spanning the late eighties and early nineties, Black Francis and cohorts created the brand new blueprint for alternative rock that would be followed by everyone from the over-rated Nirvana to other grunge tat to Britpop …. and far beyond.
After a decade apart, the Pixies reformed, to fan euphoria, in 2004.
We here step into this tale at around 6pm on a warm Saturday in August, 2006 when Pixies took the stage – very surreally in the one time bastion of the most trenchant folkies wearing woolly jumpers – of the renowned Newport Folk Festival to perform one of their most unique sets ever!
Yap, Pixies playing Newport Folk Festival! Who’d have thunk it! If Surfer Rosa is not a world, nay a universe, away from the folk stylings of Pete Seeger et al, we don’t know what the hell is!
Recalling the huge brouhaha the Newport folkies made over Dylan’s electric performance in 1965, one can imagine the outbursts and riots that a fully-blown electric Pixies set would arouse!
So, therefore, playing a completely acoustic set, the reunited original lineup of Frank Black, Kim Deal, Joey Santiago and David Lovering give a wonderfully unique spin to 21 fan favourites!
No, not a typo. Twenty one stone cold Pixies classics mofos!!
This comes from a DVD that, as well as this wonderful show, had Bonus Features including a 21 Minute “fly on the wall” feature of the Pixies in rehearsals for their debut acoustic show as they deconstruct well-known Pixies songs from electric to acoustic versions, including “Debaser” (which didn’t make the final set list.)
You can buy this DVD here. And, of course, if any kind soul from Eagle Rock or elsewhere, wants to send this DVD to us – a collection of paupers living in a tin shack – please don’t be reluctant to knock on the e-mail door!!
No links here, thanks to internet nazis, but we saw some stuff on this on some other blog. And for the dumber of those dumb dumb nazi dum-dums, the phrase “on another blog” basically means “on another fucking blog!!“
These wonderful photos are by Jonathan Furmanski
Tracklisting
1. Bone Machine
2. Cactus
3. Ed is Dead
4. All Around the World
5. Subbacultcha
6. Monkey Gone to Heaven
7. Is She Weird
8. Here Comes Your Man
9. River Euphrates
10. Velouria
11. Wave of Mutilation
12. I Bleed
13. Crackity Jones
14. Gouge Away
15. Hey
16. The Holiday Song
17. Nimrod’s Song
18. Mr. Grieves
19. Caribou
20. Where is My Mind?
21. Gigantic
The Go-Betweens – Bachelor Kisses
The Go-Betweens – Bachelor Kisses
1984, Sire
mp3/ RS
Don’t believe what you’ve heard. Faithful’s not a bad word.
An ostensibly simple song where a sumptuous melody wraps around beautiful, minimalist, plaintiff, ambiguous poetry.
I’ve played this track thousands of times down the years and it’s profound beauty never ever diminishes!
This song was recorded in 1984 for the great Spring Hill Fair LP and released as a single in August 1984.
Spring Hill Fair was one of the first GB’s albums I came across way back in the day. My pal Kev, who had wonderfully eclectic music taste, was gushing about the LP and in particular this fine track. He popped it onto a cassette – yap, real high tech times! – and I played it so much, the f*cking thing eventually fell apart!
Below is the original video of the song.
by BooBooGBs
Hey wait, please wait,
Don’t rush off,
You won’t be late.
Wait, yes, he’ll wait,
The engine’s running
At the gate.Don’t believe what you’ve heard,
Faithful’s not a bad word.Oh, won’t you save these bachelor
kisses now, they’re for your brow.
Oh, won’t you save these bachelor
kisses now, they’re for your brow.Hand, hands like hooks,
You’ll get hurt
If you play with crooks.
Your hand, that’s all he took,
The world opened up
For your looks.Don’t believe what you’ve heard,
Faithful’s not a bad word.Oh, won’t you save these bachelor
kisses now, they’re for your brow.
Oh, won’t you save these bachelor
kisses now, they’re for your brow.The arcade lights are hanging down.
The rain surrenders to the town.
The world of men don’t mean a thing
When all they give you is a diamond ring.Don’t believe what you’ve heard,
Faithful’s not a bad word.Oh, won’t you save these bachelor
kisses now, they’re for your brow.
Oh, won’t you save these bachelor
kisses now, they’re for your brow.But don’t be slave to bachelor
kisses now, they’ll break their vow.
But don’t be slave to bachelor
kisses now, they’ll break their vow.
- Grant McLennan
1984, Sire
Side One:
Bachelor Kisses
Side Two:
Rare Breed
Released as 7″ and 12″ (with Unkind and Unwise (instrumental) ) vinyl single in August 1984: UK 7″: Sire W 9156
The Go-Betweens – Cattle and Cane
1983, Rough Trade
mp3 / RS
In the sky, a rain of falling cinders. From time to time the waste. Memory wastes.
“Cattle and Cane” was released as a 7″ vinyl single in February 1983.
A beautiful melody here accompanies vivid pastoral poetry dredging up memories of better times. Youthful times. Times long gone in a faraway place.
However, much like what Highway 61 represented for a young Bob Dylan growing up far from the big city in the remote rural heartland of Duluth, Minnesota, it’s “the railroad” here that represents for a young Grant an escape from the remote rural heartland of Queensland to the big city, the wider world of creativity, the future.
However, alas, as the lyric emphasises, “memory wastes … memory wastes.“
Grant spoke about “Cattle and Cane” in an interview soon after its release in 83:
I wrote (the song) to please my mother. She hasn’t heard it yet because my mother and stepfather live (on a cattle station) and they can’t get 240 volts electricity there, so I have to sing it over the phone to her [...]
I don’t like the word nostalgic; to me, it’s a sloppy yearning for the past, and I’m not trying to do that in that song. I
‘m just trying to put three vignettes of a person, who’s a lot like myself, growing up in Queensland, and just juxtaposing that against how I am now.
- Grant McLennan, 1983
In May 2001 “Cattle and Cane” was selected by Australasian Performing Right Association (APRA) as one of the Top Australian songs of all time.
art by etherealspace
I recall a schoolboy coming home
Through fields of cane
To a house of tin and timber
And in the sky
A rain of falling cinders
From time to time
The waste, memory wastes.
I recall a boy in bigger pants
Like everyone
Just waiting for a chance
His father’s watch
He left it in the showers
From time to time
The waste, memory wastes
I recall a bigger brighter world
A world of books
And silent times in thought
And then the railroad
The railroad takes him home
Through fields of cattle
Through fields of cane
From time to time
The waste, memory wastes
The waste, memory wastes
Further, longer, higher, older
- Grant McLennan
Two versions here, both great.
Secondly, the Go-Betweens perform Cattle and Cane live on Aussie TV on the show Rock Arena, in February 1983.
1983, Rough Trade
Side One:
Cattle And Cane
Side Two:
Heaven Says
Released as a 7″ vinyl single in February 1983: UK: Rough Trade RT 124
Australia: Stunn BFA 952
Television, Tom Verlaine, Richard Lloyd and Richard Hell Bootlegs and Rarities
One of the greatest groups of all! No question!
Heroes of Post Punk. Heroes of modern music!
We fucking love em!
We posted loads more Television before. Here are some wonderful Television, Tom Verlaine, Richard Lloyd and Richard Hell bootlegs and rarities kindly sent to us by Dave Sez.
Cheers Dave!
The Neon Boys – That’s All I Know (Right Now) (1973)
http://www.mediafire.com/file/ei2ozzjijyk/NB_DEM.rar
or
http://rapidshare.com/files/125756056/1973_-_The_Neon_Boys_By_Zombieraid.rar.html
or
http://www.megaupload.com/?d=FEDCEAE7
or
http://www.zshare.net/download/52738172f605f925/
or
http://www.badongo.com/file/12485078
TELEVISION AND RICHARD HELL – Poor Circulation
rehearsal/demo and live recordings with Richard Hell, December 1973 to April 1975.
http://www.megaupload.com/fr/?d=EEX8FJBW
or
http://www.megaupload.com/?d=LTGNTOZB
TELEVISION – DOUBLE EXPOSURE/FAIRLAND/ENO DEMO (173mb, 320kps)
http://rapidshare.com/files/147705706/Television_1974-1975_demos.rar.html
PATTI SMITH AND TELEVISION LIVE AT CBGB’S NEW YORK, 17th April 1975
http://rapidshare.com/files/126664282/1975_-_Early_Gig_75_by_Zombieraid.rar.html
TELEVISION – Nights To Remember 1975 Live At Piccadilly Inn, Cleveland 25th-26th July 1975 (128 kps)
http://rapidshare.com/files/126687427/1975_-_Piccadilly_Inn_by_Zombieraid.rar.html
Television – Live at Mother’s, New York, NY (10/19/75)
http://rapidshare.com/files/144573112/Television_-_Live_at_Mother_s__New_York__NY__10-19-75_.rar
Richard Hell – 1976 – Another World/Blank Generation/You Gotta Lose 7” (Ork in US, Stiff in UK)
xxx
http://rapidshare.com/files/134668322/Richard_Hell_-_1976_-Another_World__Blank_Generation__You_Gotta_Lose_7__.rar.html
http://www.megaupload.com/?d=ELX0VD7Q
TELEVISION – Knockin’ on Heaven’s Doors – Live at CBGB’S 30th July 1976
http://rapidshare.com/files/125817399/1976_-_CBGB_by_Zombieraid.rar.html
Television – Live in Hartsdale, NY AUGUST 31 1977
http–rapidshare.com-files-93739868-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_1.rar.html
http–rapidshare.com-files-93739867-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_2.rar.html
http–rapidshare.com-files-100271125-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_3.rar.html
http–rapidshare.com-files-100264758-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_4.rar.html
TELEVISION LIVE AT THE OLD WALDORF SAN FRANCISCO 29th June 1978
192KPS:
http://www.megaupload.com/?d=DJMTUON9
or
http://rapidshare.com/files/114485410/dino1023.rar
p/w for rapidshare: sparkyibew
Television – Ticket That Exploded At The Earth Tavern in Portland, Oregon 2nd July 1978
89 mb @ 192
http://rapidshare.com/files/126201751/tv1978portland.rar
Television – This Case Is Closed The First Farewell – Bottom Line, NYC 29th July 1978
FLAC version 568 mb:
http://rapidshare.com/files/132645327/Television780729FLAC_01.zip
http://rapidshare.com/files/132677461/Television780729FLAC_02.zip
http://rapidshare.com/files/132697175/Television780729FLAC_03.zip
Password is http://dexondaz.blogspot.com/
mp3 version 106 mb @ 192 kps:
http–www.megaupload.com-d=ROTOEBV5
TELEVISION: The Blow-Up (live 1978, various locations)
http://sharebee.com/074a40b5
http://sharebee.com/ff666118
pass = hangoverheartattack
Tom Verlaine – Live in Rouen, France 17th April 1987
http://rapidshare.com/files/143559776/Tom_Verlaine_-_Live_in_Rouen__France__4-17-87__Part_1.rar
http://rapidshare.com/files/143578123/Tom_Verlaine_-_Live_in_Rouen__France__4-17-87__Part_2.rar
Television – Live at the Academy NYC 1992 (2003 CD)
http://rapidshare.com/files/135087768/2003_-_Live_at_the_academy__1992__by_Zombieraid.rar.html
Richard Lloyd – Live at The Empty Bottle, Chicago, IL 22nd June 2001
http://rapidshare.com/files/143596550/Richard_Lloyd_-_Live_at_The_Empty_Bottle__Chicago__IL___6-22-01__Part_1.rar
http://rapidshare.com/files/144024751/Richard_Lloyd_-_Live_at_The_Empty_Bottle__Chicago__IL___6-22-01__Part_2.rar
Thanks to Dave Sez and to Zombieraid, Dexondaz of dexondaz.blogspot.com, Felipe of http://isksp.blogspot.com/ and GoMonkeyGo from http://thenewdisease.blogspot.com
NOTE:
Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
Television, Tom Verlaine, Richard Lloyd and Richard Hell Bootlegs and Rarities
One of the greatest groups of all! No question!
Heroes of Post Punk. Heroes of modern music!
We fucking love em!
We posted loads more Television before. Here are some wonderful Television, Tom Verlaine, Richard Lloyd and Richard Hell bootlegs and rarities kindly sent to us by Dave Sez.
Cheers Dave!
The Neon Boys – That’s All I Know (Right Now) (1973)
http://www.mediafire.com/file/ei2ozzjijyk/NB_DEM.rar
or
http://rapidshare.com/files/125756056/1973_-_The_Neon_Boys_By_Zombieraid.rar.html
or
http://www.megaupload.com/?d=FEDCEAE7
or
http://www.zshare.net/download/52738172f605f925/
or
http://www.badongo.com/file/12485078
TELEVISION AND RICHARD HELL – Poor Circulation
rehearsal/demo and live recordings with Richard Hell, December 1973 to April 1975.
http://www.megaupload.com/fr/?d=EEX8FJBW
or
http://www.megaupload.com/?d=LTGNTOZB
TELEVISION – DOUBLE EXPOSURE/FAIRLAND/ENO DEMO (173mb, 320kps)
http://rapidshare.com/files/147705706/Television_1974-1975_demos.rar.html
PATTI SMITH AND TELEVISION LIVE AT CBGB’S NEW YORK, 17th April 1975
http://rapidshare.com/files/126664282/1975_-_Early_Gig_75_by_Zombieraid.rar.html
TELEVISION – Nights To Remember 1975 Live At Piccadilly Inn, Cleveland 25th-26th July 1975 (128 kps)
http://rapidshare.com/files/126687427/1975_-_Piccadilly_Inn_by_Zombieraid.rar.html
Television – Live at Mother’s, New York, NY (10/19/75)
http://rapidshare.com/files/144573112/Television_-_Live_at_Mother_s__New_York__NY__10-19-75_.rar
Richard Hell – 1976 – Another World/Blank Generation/You Gotta Lose 7” (Ork in US, Stiff in UK)
xxx
http://rapidshare.com/files/134668322/Richard_Hell_-_1976_-Another_World__Blank_Generation__You_Gotta_Lose_7__.rar.html
http://www.megaupload.com/?d=ELX0VD7Q
TELEVISION – Knockin’ on Heaven’s Doors – Live at CBGB’S 30th July 1976
http://rapidshare.com/files/125817399/1976_-_CBGB_by_Zombieraid.rar.html
Television – Live in Hartsdale, NY AUGUST 31 1977
http–rapidshare.com-files-93739868-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_1.rar.html
http–rapidshare.com-files-93739867-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_2.rar.html
http–rapidshare.com-files-100271125-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_3.rar.html
http–rapidshare.com-files-100264758-Television_-_Live_in_Hartsdale__NY__8-31-77__Part_4.rar.html
TELEVISION LIVE AT THE OLD WALDORF SAN FRANCISCO 29th June 1978
192KPS:
http://www.megaupload.com/?d=DJMTUON9
or
http://rapidshare.com/files/114485410/dino1023.rar
p/w for rapidshare: sparkyibew
Television – Ticket That Exploded At The Earth Tavern in Portland, Oregon 2nd July 1978
89 mb @ 192
http://rapidshare.com/files/126201751/tv1978portland.rar
Television – This Case Is Closed The First Farewell – Bottom Line, NYC 29th July 1978
FLAC version 568 mb:
http://rapidshare.com/files/132645327/Television780729FLAC_01.zip
http://rapidshare.com/files/132677461/Television780729FLAC_02.zip
http://rapidshare.com/files/132697175/Television780729FLAC_03.zip
Password is http://dexondaz.blogspot.com/
mp3 version 106 mb @ 192 kps:
http–www.megaupload.com-d=ROTOEBV5
TELEVISION: The Blow-Up (live 1978, various locations)
http://sharebee.com/074a40b5
http://sharebee.com/ff666118
pass = hangoverheartattack
Tom Verlaine – Live in Rouen, France 17th April 1987
http://rapidshare.com/files/143559776/Tom_Verlaine_-_Live_in_Rouen__France__4-17-87__Part_1.rar
http://rapidshare.com/files/143578123/Tom_Verlaine_-_Live_in_Rouen__France__4-17-87__Part_2.rar
Television – Live at the Academy NYC 1992 (2003 CD)
http://rapidshare.com/files/135087768/2003_-_Live_at_the_academy__1992__by_Zombieraid.rar.html
Richard Lloyd – Live at The Empty Bottle, Chicago, IL 22nd June 2001
http://rapidshare.com/files/143596550/Richard_Lloyd_-_Live_at_The_Empty_Bottle__Chicago__IL___6-22-01__Part_1.rar
http://rapidshare.com/files/144024751/Richard_Lloyd_-_Live_at_The_Empty_Bottle__Chicago__IL___6-22-01__Part_2.rar
And a really up-to-date new post – thanks to Claudius and Dave Sez. Yap a live audience recording (at 128 kbps but good sound) of Television live in 2007 (without Richard Lloyd):
http://clearwaterahead.blogspot.com/2008/10/television-summerstage-06162007.html
Thanks to Dave Sez and to Zombieraid, Dexondaz of dexondaz.blogspot.com, Felipe of http://isksp.blogspot.com/ and GoMonkeyGo from http://thenewdisease.blogspot.com
NOTE:
Beirut’s Mexican odyssey to "March Of The Zapotec" and other stuff
Some links too to some interesting Mexican songs that inspired the project.
Beirut : Mezcal for the road
He’s from New Mexico but he soon felt the urge to go elsewhere. Maybe he felt confined, maybe he felt isolated. He travelled, he went where he desired to go or just wandered by chance. He found other kinds of music and other ways to make it. He made a living out of it, and he suffered from it. He had this fantasy of a Balkan orchestra, on his own at first, and then with company. He rejoiced in it, and then knew sorrow. He was overtaken, he surrendered, he left, he came back, here, there, elsewhere.
He wanted funeral processions and exhausted trumpet players, he wanted a different sense of pain, but actually not that different from his laments from the ends of Europe. He made his record in secrecy and painstakingly. He wanted black and white, circus’ parades, old french cinema. Gangsters’ music, the kind that reeks of honour, taboos and omertas but which makes for beautiful afflictions. Instead of Calabra, he chose the state of Oaxaca, in Mexico, but geography doesn’t really matter. He’s nostalgic of an era he didn’t experience, so he reinvents it with songs. They are sadly disillusioned, and maybe he is too, deeply, very deeply.
He’s Zach Condon, he’s also known as Beirut, his new EP is called March Of The Zapotec.
Once, he dismissed his band, the very craftsmen of his sentimental and festive ambiences. He locked himself up and created his languid electrop-pop just like you go back to your first loves. Alone with his computer, experiencing both pleasure and nostalgia. He might have found himself, but he also led us astray. He wanted to multiply appearances, to pretend being someone else while staying true to himself. A very risky game to play with people’s perceptions, and maybe finally he got lost, more than he thought.
He’s still Zach Condon, his second EP is called Real People : Holland.
We wanted to know what had happened since the release of The Flying Club Cup and his return to the US. We wanted to come to know the path that led him to the Zapotecs. We chatted a lot. About mezcal, touring, synthetizers, travels, the Mexican pieces that influenced him. About music.
You’re coming back with a Mexican record : to be honest, we expected a lot of mariachis. When I hear this, it’s like I’m watching the Godfather…. What is this music ?
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You just reminded me… The Godfather theme was the first “song” I taught myself on trumpet. I’m sure my brief explanation of what my new project was going to be (back when you heard me first mention it) didn’t give the right impression…. so I’ll start from the beginning:
A director by the name of Cary Fukunaga asked me if i would like to do the soundtrack for his movie which is filmed and mostly takes place in Mexico. After reading the script and seeing some footage I thought it would be a great thing to cut my cinematic teeth on… So he sent me packets of music from Mexico while he was filming, stuff for me to get ideas from. “Dios Nunca Muere” was one of those songs, and it really caught my ear… It took a while, but it started to grow on me.
I wrote a few songs with that in mind, but in the end me and the director parted on friendly terms (we might still work together later!) because I started getting heavy on the idea of doing it for myself and the poor guy needed movie music, not Beirut songs.
The music is very specific to Oaxaca State, Mexico, so its definitely not “mariachi”. It’s wedding and funeral and festival music, played by a large, barely rehearsed local brass band… That’s kind of the fun of it. Its pretty thrilling when the band sounds like its about to go off the rails and lose everything but are pulled together by bright trumpets and loud drums. (Starting to sound similar to other genres of music i fell in love with a few years ago, right?). “Dios Nunca Muere” was written by a Oaxacan composer, and as a parting gift, the band i recorded with in Teotitlan played a rather moving rendition of it on my last day in Mexico. That song hides more than it shows until you hear it done right in front of you.
It’s again a recording that implied a journey. One of the first times we met, we talked of your need to leave the US and see other places. What’s elsewhere that attracts you so much ? Is there always the generic idea of an elsewhere or was it just specific places that you wanted to see ?
Thats a great impulse for any youngish person to have. I feel like if you don’t feel the need to leave home at least for a while then there’s probably something wrong… Probably a clingy girlfriend or something.
Anyway, I didn’t need to have some sort of Indiana Jones adventure around the world, I just needed to feel a part of something bigger and practice my french. Or maybe I just needed a new drinking spot. I don’t know… You’ve heard me say this a lot but I feel like Paris was very important to see. I needed to see why it inspired so much literature film and music that I loved.
Your music has always been very linked to geography : what are the next places that you’d want to explore musically ? I remember a chat about Mahmoud Ahmed and Ethiopia, and also that you were excited about greek instruments when you came back from Athens. Are you generally attracted to places or is it just the music ?
I’m hoping to unlink it from geography. I feel like I’ve gotten that idea out of my system so to speak. I’ll always be fascinated in new sounds and melodies, that I could never get tired of. But I feel like I was just growing up musically, wide eyed and obsessed with whatever new sound I was able to create or imitate… And I finally feel like I’ve found my own sound; in fact, it was always there, something uniquely my own in all the music I’ve made. So the next step will logically be taking my own voice and melody as far as it can go.
Do you think you can again travel like you used to ? Now that you’re a musician, do you feel you can just take the road and discover … say Greece for example, the way you tried to discover the Balkans ? or will it be now much more music-centered, in the sense : with the idea of a record that needs to be recorded on your mind ? Do you even feel that need ?
Not necessarily… Last summers trip to Morocco for example, was more about traveling again like i used to, not just for the sake of music.
But I also felt like there was no better way to experience Mexico when I was there than to record and work with the locals. I don’t see traveling as “discovering” anything really…Just getting to know new personalities and traditions and seeing something beautiful on the way.
Back to “Dios Nunca Muere”. It sounds very sad, and lazy, kinda drunk music.
Again, a familiar theme for me. This album was recorded in a thick nightmarish cloud of homemade Mescal from Teotitlan Del Valle. I’d like to thank Jon Natchez’s mother for hooking us up with the people of that city. They were amazing, band Jiminez.
“Toques para difuntos” also conveys something that’s terribly sad. Do you know how they play that ? Is it all written or part of improvisation ? How are theses orchestras organized ? How was it working with them ?
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I guess I have a thing for sad music. And I often like badly recorded music… I don’t know why. All this music is written down, they improvise intros but that’s it.
Working with Band Jiminez was pretty intense. There were seventeen of them after all. I can’t really explain how it was “working” with them, so I’ll try and just describe what it was like to be down there.
We were staying in a bed and breakfast type place on top of a steep hill overlooking the ramshackle town. Every morning we would wake up to music blasting from different corners of the village, and there were three weddings and two funeral in the two weeks we were there…. You could see the procession with the casket walking down the main road towards the cemetery. They often played “Dios Nunca Muere”.
Around four pm the band would start to show up, with drums and brass instruments hanging off their bikes and cars. We would set up microphones in a room with no actual doors and start rehearsals. Our translator (Tomas) was a saviour. Our Spanish is horrible (sorry New Mexico! I never paid attention in class). And they mostly only speak Zapotec anyway. We would do many takes and record until the sun went down, same song. Then we would drink mescal and write out the parts for the next day. We had strange dreams about Asian gangsters stealing our equipment (true story) and then we woke up to do it again. It was a very happy time.
There’s a sense of losing control in your music. Both Balkans and Mexico bring to mind images of feasts where everyone gets extremely drunk. But the new EP sounds more constrained, more controlled than your previous recordings. How is that so ? Not enough tequila ?
Often I am losing control. Part of my mind starts to shut down when I’m writing and from then on its all auto-pilot. When I’m done with the melodies, it’s like I have to wake back up and pick up all the pieces that I had thrown around while recording the raw demo of a song…
I had a funny thought… If you think this sounds more organized and together than my usual recordings then its probably only because I’m not playing much on it. It’s the Zapotec band that are holding it together whereas I would usually let it fall to pieces had I recorded every instrument myself. All I did was write the songs… They played 90 percent of it.
And there was plenty of Mescal when we were down there. In fact, our guide and translator’s brother made the mescal himself not far from the house we stayed in. It’s how we made it through the long nights of figuring out how to get the band to play what I was hearing in my head.
How did you stumble upon “La Primavera” ? It sounds much more like what I expect from Mexico. It doesn’t sound a lot like your record, though. What did you take from this ?
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Cary Fukunaga again. After hearing this song, I went on a rampage to figure out where it was coming from.. the elastic vocals and weird changing tempos and strings…. so beautiful…
The genre is called huapango, and is native to the Yucatan peninsula. usually with really complex dances to go with it. To be honest, in the end I took nothing from it for myself, because I couldn’t. Strings and vocals like that are of a different world than mine. I love them, but I dare not try.
The Mexican songs that inspired you are strongly linked to funerals. The same way that Balkan brass bands you fell in love with play a repertoire of weddings songs. Is that notion important to you ? Do you think your music in some way should be the soundtrack to some sort of a ritual ? And in that case : a wedding or a funeral ?
It’s true, I’m obsessed with songs that are deeply involved in ritual. Let’s just say that I’m always looking for that sound that really means a lot to large groups of people in times of need or celebration. Something that strikes deep. And often, it takes something as dramatic as funerals for a certain melody or song to reach its full potential. But it doesn’t have to be under such dire circumstances. There is something equally beautiful about just hearing that song alone, and feeling strong emotions pour through you. I wish there was more music like that. But to me, even pop songs have taken me to the same place. they have overwhelmed me just as much.
The other EP is not a surprised to those who know that you’ve always been in love with electronic music. Can you tell us more about this ? I remember you were into Kompakt recordings when The Flying Club Cup came out. What’s in there for you ? Does it influence your music overall, or just only your electronic works ?
Yeah, the second disc is very much a bonus disc for more involved fans who might be wondering what the Mr. Hyde side of my music personality actually sounds like. I don’t expect casual listeners to put too much thought into it. It was an interesting year for me…
As I said earlier, I feel like I’ve finally found my voice after a few years of experimentation with sounds from all over. These two discs really helped me find that. I was looking forward and backward at my own body of work, trying to pick out what united it all. From the outside it’s probably hard to associate the real people stuff with all the Beirut work I’ve done, and that’s fine by me. But for me it was a strange eureka! kind of moment when I noticed that no matter what instruments and ideas I’m working with, there’s always a common sense of melody and rhythm.
Your interest for electronic instruments is not new. Can you tell us the story of that first synth that you found ?What was so interesting with this instrument for you ?
Morton Subotnick’s son was in school with me. I guess he heard I was looking around for retro synths, and he happened to have a bunch lying around the house. I didn’t really realize who he was until a couple of years later. I bought the keyboard and played it for years before it broke. I know its on a few of the songs on this release. I loved its big warm analog sounds.
“Venice” sounds clearly as a mix between the two : it has electronics and trumpet. I know it’s a song from 2007 but is that a direction you want to take ?
Not really, but that is a favourite of mine. I don’t think I’ll be fusing electronics with acoustic instruments. That’s not normally my aesthetic at all. I imagine I’ll sneak off and record a few more Venice type songs for fun, but again, that’s not the direction I’m headed in. Maybe “The Concubine” is a slightly better example, but you’d have to hear it live to understand exactly what I mean by that.
Speaking of live : you recorded the Zapotec EP with a large band of 17 members, how do you see this work on stage ?
There’s plenty of simple melodies in there underneath the wall of instruments. I found that they translated quite nicely to a five piece once I got them into the rehearsal room.
So you down-sized your touring band : what is it going to be like ?
I guess I was starting to see such a large band as a novelty…And I knew it would be a healthy musical challenge, having to boil down all the songs to their most important parts. I wanted to have a tighter smaller backing band that that would leave me more room to do some serious singing over, instead of hiding behind so much noise..
You’re giving very few concerts around this release : a handful in Brooklyn now and then a small European tour in May. Are there any other dates in the works ? Or is that a choice ?
That is a choice I made. Shows are lovely things when taken in small doses. Each show gathers more significance and becomes its own special event. Obviously I get exhausted and sick pretty easily if I overdo touring.
I know that you’re not fond of life on the road : still, what are you looking for in a gig ? Do you think that your recorded music has to be played live to gain its full potential ?
Its gotta be moving…Touring itself is difficult, but the shows have turned into an important part of my life and growth as a musician. There’s always a moment when band and audience are suddenly very in sync and it’s a feeling you want to keep chasing after you’ve experienced it.
What’s next for you ? A full length album sometime this year or the next ? You played on Final Fantasy 2008 EP, you did a song for Dark Was The Night charity record : any other collaborations that we can expect to hear of ?
I’m ready to set out on my next LP, now that I’ve gotten such dramatic musical mood swings out of my system… I’ll probably release a single while I’m working on that to test the waters. I want to build a true home studio when I get back from tour. I’ve spent too much time in Brooklyn doing guerilla recordings whenever I got a moment of peace.
I need a studio home base, and I intend to make a very good one.
Interview by Garrincha & Chryde
Radiohead + the USC marching band perform "15 Step" at the Grammys
’15 Step’ Radiohead + USC Marching Band live at the Grammys mp3
NOTE:
BEIRUT/ The Real People – The Joys Of Losing Weight
2001 | lo-fi electronic/Indie/Alt | MP3 | 256Kbps | 135Mb
Do you like experimental music? Do you like songs without titles? Do you like Beirut? Do you like Lebanon? Do you like Lesbianism? Do you like loads of dumb questions? Well, then here’s the album for you, The Joy of Losing Weight by Oprah Winfrey … sorry by The Real People!
The Real People consists of, surprise surprise, one Zach Condon of Beirut fame!
Amazingly, Condon made this album at the age of fifteen! And even more amazing, or maybe not considering who made it, the album is quite good. Fifteen? …. shouldn’t he have been out behind the school bike shed sniffing glue and drinking cider with the local peroxide blond bikes instead of messing about with some downloaded studio software in his bedroom all day?
Anyway, some blurb from somewhere on the initial release of this;
“This album has never been released, is not available for sale, and has never been seen or heard by anyone other than a handful of people who have personally received a copy of this record. It pre-dates all of his work with Beirut and does not bear any influence of the Balkan/Eastern Gypsy sound that he has become renowned and critically acclaimed for; however, it’s a highly precocious album that’s steeped in amazing melodies draped against a backdrop of synthesized electronica: imagine an entire electronic/experimental album in the style of Scenic World with Zach’s distinctive vocals and the occasional appearance of his famous brass instrumentation.”
Fair enough!
So here she be, 21 tracks in all …. and no titles! Have fun and make up your own titles!
We call the first one “Flower Ozawa Biscuit Hangover”! Or maybe that’s my new GF’s name …. I can’t remember!
All thanks to GuessNot4Me
NOTE:
The Smiths – How Soon Is Now
When you say it’s gonna happen “now”, well when exactly do you mean?
Starting with a seminal and sublime Johnny riff laid upon by Morrisey’s unique vocals and distinctively fucked up powerful poetic lyrics, this is a perfect song! A song you urgently want to immediately hear again once it’s over! And then hear again once that’s over!
Although, shockingly, not the biggest hit in the Universe at the time of its original release, like the song’s great line “when you say it’s gonna happen “now”, well when exactly do you mean?”, the track has slowly but surely, down the years, garnered the oceans of universal critical recognition it all so properly deserves, and now sits proudly amongst the pantheon of modern songwriting!
A truly classic piece of modern songwriting, “How Soon Is Now?” represents the peerless Smiths at their prime.
A crucially important, timeless, incendiary track!
We get the magnificent Morrissey lyrics, ostensibly simple yet extremely powerful – lyrics that really strike you in the gut; lyrics not only left of field, but from another time and place, a cross between Milton, some obscure Victorian writers, Oscar Wilde, Hubert Selby Jr, Kitchen sink drama, Patti Smith, Harold Pinter and a million other eclectic influences!
And all this majesty above a beautifully original, scintillating, wildly-oscillating Johnny Marr guitar riff!
How often do you hear words like “seminal” in a song? How often do you hear a magic unforgettable riff like this?
Nowhere but here, motherfuckers!
This song is perfection itself!!
I am the son
and the heir
of a shyness that is criminally vulgar
I am the son and heir
of nothing in particularYou shut your mouth
how can you say
I go about things the wrong way
I am human and I need to be loved
just like everybody else doesI am the son
and the heir
of a shyness that is criminally vulgar
I am the son and the heir
of nothing in particularYou shut your mouth
how can you say
I go about things the wrong way
I am human and I need to be loved
just like everybody else doesThere’s a club if you’d like to go
you could meet somebody who really loves you
so you go, and you stand on your own
and you leave on your own
and you go home, and you cry
and you want to dieWhen you say it’s gonna happen “now”
well, when exactly do you mean?
see I’ve already waited too long
and all my hope is goneYou shut your mouth
how can you say
I go about things the wrong way
I am human and I need to be loved
just like everybody else does
“How Soon Is Now?”was credited to Morrissey and Johnny Marr and first released by The Smiths back in 1984.
Sire Records chief Seymour Stein – kind of damning it with faint praise! – called the song “the ‘Stairway to Heaven’ of the Eighties”, while co-writer Johnny Marr more sensibly described it as “possibly our most enduring record. It’s most people’s favourite, I think.“
Originally a B-side with “Please, Please, Please Let Me Get What I Want” on the 12″ single version of “William, It Was Really Nothing” in 1984, the song was subsequently featured on the compilation album Hatful of Hollow and on certain (U.S., Australian and Warner UK) editions of Meat Is Murder.
It was subsequently belatedly released as an A-side in the United Kingdom in 1985, reaching #24 on the singles chart.
Although a club favourite, “How Soon Is Now?” did not chart as well as writers Morrissey and Marr had expected. Most commentators put this down to the fact that the song had been out on vinyl in a number of forms before being released as a single in its own right.
The original track ran for nearly 7 minutes; however, the 7″ single edit cut the length down to under four minutes. The complete version is generally used on compilations.
The song contains only one verse which is repeated twice, plus a chorus and a bridge.
The subject is not one normally touched upon in realm of popular music. It’s an existential tale of a desparate individual who cannot find a way to break free of his crippling shyness – a tale with strong resonance to all sensitive intelligent souls across the world! (no, not one, thankfully, for the dumb Jocks!)
Two couplets from the song have since found their way into mass pop culture. Those being the opening to the verse: “I am the son, and the heir, of a shyness that is criminally vulgar / I am the son and heir, of nothing in particular“, and the chorus: “I am human and I need to be loved / Just like everybody else does“.
The opening was actually adapted from a line in George Eliot‘s novel Middlemarch: “To be born the son of a Middlemarch manufacturer, and inevitable heir to nothing in particular”.
While the track is cited as having changed the dumb U.S. media’s incorrect perception of the band, the lyrics have also been taken as specifically relating to contemporary Manchester club culture.
In any event the lyrics represent Mozza at his powerful poetic best, totally out of step with any other lyricist from this or indeed any other period!
The tune is built around an impactful guitar chord that rapidly oscillates in volume. As to how this amazingly distinctive resonant sound was achieved, Johny Marr gave the following account to Guitar Player magazine in 1990:
The vibrato sound is fucking incredible, and it took a long time. I put down the rhythm track on an Epiphone Casino through a Fender Twin Reverb without vibrato. Then we played the track back through four old Twins, one on each side. We had to keep all the amps vibrating in time to the track and each other, so we had to keep stopping and starting the track, recording it in 10-second bursts …..
We did it in three passes through a harmonizer, set to some weird interval, like a sixth. There was a different harmonization for each pass. For the line in harmonics, I retuned the guitar so that I could play it all at the 12th fret with natural harmonics. It’s doubled several times.
According to John Porter: “I thought ‘This is it!’…but I don’t think the record company liked it…They totally threw it away, wasted it”. The track was subsequently included on The Smiths’ compilation album Hatful of Hollow, released on 12 November 1984.
The song was released on Sire Records in the United States, backed with “Girl Afraid”, in November 1984. It was expected to sell well and, for the first time, a video was made to promote a Smiths track. However, the song failed to chart.
Rough Trade boss Geoff Travis blamed poor promotion: “I can’t understand why ‘How Soon Is Now?” wasn’t a top 10 single, but perhaps I’m being naive. If only their singles had been played on the radio”.
Morrissey too expressed his disappointment in an interview with Creem magazine: “It’s hard to believe that ‘How Soon Is Now?’ was not a hit. I thought that was the one...”.
“How Soon Is Now?” was released as an A-side in the United Kingdom later, on January 28, 1985. The 7″ featured an edited version of the track, and the B-side was “Well I Wonder“, from the about-to-be-released Meat Is Murder album. The 12″ single also included a great new instrumental track, “Oscillate Wildly“.
In spite of being considered, by this time, something of a classic, “How Soon Is Now?” only managed to rise to #24 in the U.K. singles chart. The reality though, as stated in an interview by John Porter was that “Everybody knew the Smiths’ fans already had it”!
Following the acquisition of the Rough Trade catalogue by Warner Bros. Records, “How Soon Is Now?” was issued again as a single in the United Kingdom in September 1992.
A 7″ single and cassette featured the edited version, backed with a live version of “Handsome Devil“, recorded at The Haçienda on 4 February 1983 (this had originally been the B-side to The Smiths’ first single “Hand in Glove”).
Two CD singles featured tracks from The Smiths’ back-cataolgue which were, following the demise of Rough Trade, unavailable in the United Kingdom at that time. The re-issue reached #16 in the U.K. singles chart.
Reviews of this great track upon initial release were generally excellent, such as this one from the now defunct Melody Maker – a top weekly Brit music mag back then;
“Morrissey and co have once again delved into their Sixties treasure-trove, and produced a visceral power capable of blowing the dust off Eighties inertia. The majestic ease of Morrissey’s melancholic vocals are tinted with vitriol, as they move through vistas of misery with plaintive spirals around the pulse of Johnny Marr’s vibrato guitar. The string’s muted strains conjure wistful signs that bridge the schism between crass sentimentality and callous detachment. Each repeated phrase intensifies the hypnotic waves, with results that outflank anything since ‘This Charming Man’. Catharsis has rarely been tinged with so much regret, and shared with so much crystalline purity.”- Melody Maker, 2 February 1985
The Smiths were always known for a sublime artwork aesthetic. This track continued in that vein.
The single’s cover art was a still from the film Dunkirk (1958) featuring British actor Sean Barrett, praying but looking sufficiently as though he was holding his crotch to have the sleeve banned in the censorial United States, where a photograph of the band backstage at the 1984 Glastonbury Festival was used instead!!
According to Morrissey: “‘How Soon Is Now?’ was released in an abhorrent sleeve — and the time and the dedication that we put into the sleeves and artwork, it was tearful when we finally saw the record…”
A music video was made – see end of this post – using the 7″ edit of the song which intercut clips of the band playing live (including a shot of Johnny Marr showing Morrissey how to play the guitar), an industrial part of Manchester, and a girl dancing.
Whilst unauthorised and heavily criticised by the band, the video has been credited with helping make the song their most famous in the United States, along with helping them attain heavy exposure on college radio.
Morrissey wasn’t a fan of the vid though and said:
“We saw the video and we said to Sire, ‘You can’t possibly release this… this degrading video.’ And they said, ‘Well, maybe you shouldn’t really be on our label.’ It was quite disastrous”!
“How Soon Is Now?” was always considered a “major problem” to play in concert, and live versions are rare.
One version was recorded during the concert for The Smiths’ live album Rank, but was not used. Instead, a raw version of this song (and entire concert) appeared on the bootleg A Bad Boy from a Good Family.
However, one live version was used to open Morrissey’s solo album Live at Earl’s Court.
Furthermore, the track has also been played on almost all of Morrissey’s tours since 2004.
“How Soon Is Now?” has been since been covered by various artists of very very varying quality!!
The guitar track was sampled, with the Smiths’ approval, in 1990 by indie-dance band Soho on their UK Top 10 single “Hippychick”.
The song was covered by Psychedelic Furs spin-off band Love Spit Love.
Their version was used on the soundtrack to the film The Craft – a dumb tale about a group of curvy nubile teen witches!
It was also later used as the theme tune to the witchcraft-themed television show Charmed, and has since, rather surreally, become associated with the series. It appears on Charmed: The Soundtrack and as a UK bonus track on its follow-up album, Charmed: The Book of Shadows.
Mad Russian lesbian-chic pop duo t.A.T.u.‘s cover of the song is featured on the album 200 km/h in the Wrong Lane (2002). Johnny Marr properly found their version “just silly”, but Morrissey, probably tongue in cheek, considered it “magnificent”!
t.A.T.u.’s version of “How Soon Is Now” is the opening track on the album Tribute to The Smiths, a compilation of Smiths covers.
Other artists to have covered the song include UK indie band Hundred Reasons, U.S. post-hardcore band Quicksand (bonus track on their Slip album) in 1993, U.S. post-grunge band Everclear, US punk band Meatmen (on the compilation “The World Still Won’t Listen”), UK band Paradise Lost (on the limited edition Say Just Words EP), and industrial rockers Snake River Conspiracy.
The song has, down they years, gone on to garner many many well deserved critical accolades;
In 2004, Rolling Stone magazine rated the song #486 in its list of The 500 Greatest Songs of All Time. We think it should really really be far higher though! For example, Macca’s mawkish “Let it Be” was in their top twenty, for f*ck sake!!
In March 2005, Q magazine placed it at #28 in its list of the 100 Greatest Guitar Tracks.
In 2006, “How Soon Is Now?” was voted runner up in VH1’s “Top Lyrics” poll for the lyrics, “So you go and you stand on your own, and you leave on your own, and you go home, and you cry, and you want to die” and marginally missed out on top spot to U2’s “One”. None of those judges had heard of Bob Dylan or Leonard Cohen though!!
In May 2007, NME magazine placed “How Soon Is Now?” at # 7 in its list of the 50 Greatest Indie Anthems Ever.
The Woodentops – A great lost Group
We’ve been listening a lot to a recent BBC collection of sessions by the wonderful Woodentops, a short-lived magnificent innovative group way ahead of their time.
We were huge huge fans of the band back in their heyday – we were only kids at the time – and had a few of their albums that got played so much, the vinyl got totally fucked up!
At that time, there was one decent radio station – an illegal local “pirate” radio station – called “Capital Radio” that used to blast out loads of Woodentops, as well as oodles of other wonderful obscure indie music, and we always had a cassette or 2 handy to capture the great sounds (it really was a high tech period back then! Some guy had just recently invented the wheel!)
The Woodentops’ music at it’s best was full of frenetic energy and power; an eruption of punk rawness and pure pop that stood out like a sore thumb amongst the muzak then generally proliferating across the airwaves!
One can possibly point to influences such as Talking Heads, New Order, The Pop Group, Suicide, Big Audio Dynamite, Joy Division, Jonathan Richman etc. but the band really had a sound all of its own. Truly distinctive! Just take a gander at the array of odd instruments they used!
This fine BBC Collection covers the many Beeb sessions that the band recorded between 1984 and 1988 – mainly for the late great John Peel and for Janice Long – and does a great job at encapsulating their sound and the development of their music over that period.
A whopping wonderful 20 tracks in all!
Some classic tracks in here – majestic amalgams of punk, post-punk, agit-pop, electronica and power pop! And many other genres!
Love it!
Taking punk’s DIY ideals and applying it to stripped-down acoustic pop, the Woodentops achieved a great deal of critical success in the short time they were together.
The band formed in Northampton, West England in 1983. The initial line-up was Rolo McGinty (vocals, guitar, formerly of The Innocents and The Jazz Butcher), Simon Mawby (guitar), Alice Thompson (keyboards), Frank DeFreitas (bass guitar) and Paul Hookham (drums).
They released their debut single ”Plenty” on Food Records in 84.
This led to them being signed by acclaimed Indie label (of Smiths fame etc) Rough Trade where the band released a series of classic singles through 1985/86 which soon got the band noticed;
- ‘‘Move Me”,
- ”Well Well Well”,
- ”It Will Come” and
- ”Good Thing”
This was followed by their wonderful acclaimed debut album Giant.
Giant was a great collection of powerful innovative music. Also replete with beautiful cover artwork.
Giant was well received by critics and strangely, given that the music was way out of synch with the morass of eighties music, that it was also a minor commercial success. The album’s sound was characterised by acoustic guitars, but also featured accordion, marimba, strings, and trumpet sounds, showing influences of great mavericks like Suicide.
Giant reached #35 on the UK Album Charts. A single from the album, “(Love Affair With) Everyday Living” also became a minor hit in the UK Singles Chart.
The following year the band began experimenting with their sound, adding tougher guitars and electronics, and gained an early hit on the burgeoning club scene in Ibiza with ”Why Why Why’‘.
The band’s new more frenetic style first became apparent in their live shows, as documented on the excellent live album Live Hypno Beat (1987), which was recorded in Los Angeles in 1986. The band became more raw live and unpredictable, becoming one of the most exciting independent groups out there!
In 1987, Thompson left, to be replaced by Anne Stephenson of The Communards.
The more experimental mood was continued on the second album Wooden Foot Cops on the Highway released the following year, which did not have the same success as their debut.
However, most notably, the listeners of Los Angeles radio station KROQ voted their song “Stop This Car” number 15 out of 106 in the KROQ Top 106.7 Countdown of 1988, outperforming many more established acts! Also, one of the album’s standout tracks, “Wheels Turning,” became a dancefloor favourite.
The Woodentops continued to play live, touring the world and tracks such as “Tainted World” became a regular on New York radio station Kiss Fm with DJ Tony Humphries.
Sadly, after an all too brief time together, The Woodentop scalled it a day in 1992.
Vocalist and guitarist Rolo McGinty, who wrote most of Woodentops songs, resurfaced with the DJ band Pluto in the 1990s. He was also involved with the Dogs Deluxe electronica project and also provided vocals for Gary Lucas‘ “Gods and Monsters”.
The great news later was that the band returned to live performance in September 2006, and plan to release some new music!
We wish them all the success in the world! They deserve it!
http://www.woodentopsmusic.com/index.html
http://www.myspace.com/thewoodentops
Discography
* Well, Well, Well… The Unabridged Singles Collection (1985) Rough Trade
* Giant (1986) Rough Trade/Columbia (UK #35, UK Indie #2)
* Live Hypnobeat Live (1987) Rough Trade/Epic (UK Indie #1)
* Wooden Foot Cops on the Highway (1988) Rough Trade (UK #48, UK Indie #1)
* Bamboo: The Best Of The Woodentops (2003)
* BBC Sessions (2007)
The Smiths – Live in Germany – 1984
One of the greatest groups of recent time knock out some sublime classics at a fine early period live show in Deutschland!
Oh the mammaries! The mammaries!
Hand in glove
The sun shines out of our behinds
No, it’s not like any other love
This one is different – because it’s usHand in glove
We can go wherever we please
And everything depends upon
How near you stand to meAnd if the people stare
Then the people stare
Oh, I really don’t know and I really don’t careKiss My Shades
Hand in glove
The Good People laugh
Yes, we may be hidden by rags
But we’ve something they’ll never haveHand in glove
The sun shines out of our behinds
Yes, we may be hidden by rags
But we’ve something they’ll never haveAnd if the people stare
Then the people stare
Oh, I really don’t know and I really don’t careKiss My Shades … oh …
So, hand in glove I stake my claim
I’ll fight to the last breathIf they dare touch a hair on your head
I’ll fight to the last breathFor the Good Life is out there somewhere
So stay on my arm, you little charmerBut I know my luck too well
Yes, I know my luck too well
And I’ll probably never see you again
I’ll probably never see you again
I’ll probably never see you again
Oh …
The Pitchfork 500 – The 500 greatest songs (1977 – 2006)
We are salivating like mad pavlovian dogs at the thought of the great fat man clambering down our chimney. Especially so, given that we don’t even have a fucking chimney!
Anyway, as well as the new uncensored Maria Ozawa DVDs, the reindeer fondler shall be lumping this fine tome, The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present, compiled by the good people at Pitchfork Media exploring the greatest 500 tracks of the past thirty years!
The great tracks in question are listed below.
Of course, instead of waiting to hear groans coming from a non-existent chimney (and we always much prefer to hear groans coming from the bed rather than from a chimney!) the wonderful Simon & Schuster or Pitchfork might send us a copy, so we can eulogise about it!! (We’re not known for grovelling and never ever do so ….. but please please please send us the fucking book Mr. Paul Simon and Art Schuster! Please, for the love of God!)
more info: http://www.pitchforkmedia.com/…..00-is-here
or: http://thepitchfork500.com/
Ladies and gentlemen, as you know, today, November 11, Simon & Schuster imprint Fireside Books publishes The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present. This handy paperback chronologically explores Pitchfork’s 500 favorite songs from 1977-2006, constructing an alternate history of the past three decades of popular music– one that extends beyond the typical Baby Boomer-approved canon of the Clash, Prince, Public Enemy, Nirvana, Radiohead, and Outkast.From art-rock and proto-punk godfathers such as Brian Eno, Iggy Pop, and David Bowie to today’s leading lights such as the Arcade Fire, the White Stripes, and Kanye West; from superstars to cult heroes; and from punk, indie, and pop to hip-hop, electronic music, and metal, we’ve created the ultimate playlist. Interspersed throughout are sidebars on the most vital subgenres from electro to grime to riot grrrl, along with pieces like “Career Killers: The Songs That Ended It All” and “Runaway Trainwrecks: The Post-Grunge Nadir.”
Edited by Pitchfork founder/president Ryan Schreiber and editor-in-chief Scott Plagenhoef, and written by an all-star team of contributors, The Pitchfork 500 is the perfect book for the train ride to work, a cozy winter’s night by the fireside, or extended stays on the toilet. And it sure would make for a nice holiday gift, hint hint.
The book is available in your friendly neighborhood bookstore right now. Or you can order it via Amazon, Barnes & Noble, Borders, Insound, Powells, or Simon & Schuster.
To celebrate the release of The Pitchfork 500, we’ve lined up a few events and media appearances. If you’re in the Chicago area, head on over to the Borders Books & Music in Lincoln Park (2817 N. Clark St.) on Thursday, November 13 at 7 p.m., where Pitchfork editor-in-chief (and Pitchfork 500 co-editor) Scott Plagenhoef and Pitchfork managing editor (and Pitchfork 500 contributing editor) Mark Richardson will read from The Pitchfork 500, followed by a Q&A session and a book signing.
For those of you in Ohio, Mark Richardson will speak on a panel hosted by the Wexner Center For the Arts at Ohio State University in Columbus on Thursday, November 20 at 5 p.m. Peel Slowly and See: Warhol, Music, and Image will feature a discussion of the Velvet Underground and Warhol’s role in music by Mark, Dean & Britta’s Dean Wareham, and Professor Barry Shank of OSU. A performance by Dean & Britta will follow the panel.
Tune your radios to New York’s WNYC-FM at 2 p.m. on Thursday, November 13 to hear The Pitchfork 500 co-editors Ryan Schreiber and Scott Plagenhoef on “Soundcheck” with host John Schaefer. The next day, Friday, November 14, New Yorkers can tune into WRXP-FM’s “Matt Pinfield in the Mornings” between 6 and 10 a.m. for an interview with Ryan Schreiber, while Chicagoans can catch Scott Plagenhoef on WGN Radio’s “The Noon Show” chatting with host Bob Sirott UPDATE: Scott will be on at 2 p.m. with host John Williams. Then on December 2, Scott will appear live on Chicago’s WGN “Midday News” television show to discuss The Pitchfork 500.
For a complete rundown of these and future events, head over to www.thepitchfork500.com
Nov 11, 2008
So many of our favourite tracks are in here. So many of our favourite artists! So many diverse genres. So many seminal sounds. And so many “so’s” in this paragraph!
Some amazing tracks here too that are new to us. And not many duds!
Now, what if someone was to go to the tremendous effort of compiling all these tracks? Well, you’d get the greatest musical compilation to surface in many a century! Probably the greatest since Johann Sebastian Bach compiled the best of his majestic works back in 1740 – but that was just a huge pile of musical scores though and would be unplayable on most CD players!
Which is what some kindly souls at the great SFRP.com have actually done – compiled this amazing collection of 500 tracks covering the past thirty years!
(For dumb internet nazis, the phrase “on another blog” means on another fucking blog. Not on this blog! )
The Pitchfork 500 – The 500 greatest songs (1977 – 2006)
David Bowie – Heroes
Iggy Pop – The Passenger
Lou Reed – Street Hassle
Kraftwerk – Trans-Europe Express
Brian Eno – 1/1
The Ramones – Rockaway Beach
Talking Heads – Psycho Killer
Television – Marquee Moon
Patti Smith – Rock n Roll Nigger
The Sex Pistols – God Save the Queen
The Clash – (White Man) In Hammersmith Palais
Buzzcocks – Ever Fallen in Love?
Vic Godard and the Subway Sect – Parallel Lines
X-Ray Spex – Oh Bondage! Up Yours!
The Adverts – One Chord Wonders
Wire – Ex-Lion Tamer
Donna Summer – I Feel Love
Giorgo Moroder – The Chase
Chic – Good Times
Thelma Houston – Don’t Leave Me This Way
Gloria Gaynor – I Will Survive
Michael Jackson – Don’t Stop ‘Til You Get Enough
Parliament – Flash Light
Marvin Gaye – Got To Give It Up
Public Image Ltd. – Public Image
Gang of Four – Damaged Goods
Magazine – Shot by Both Sides
The Cramps – Human Fly
The Misfits – Night of the Living Dead
Wire – Outdoor Miner
Joy Division – Disorder
Althea and Donna – Uptown Top Ranking
Lee Perry – Roast Fish and Cornbread
The Congos – Fisherman
Willie Williams – Armagideon Time
This Heat – 24 Track Loop
The Slits – Typical Girls
The Pop Group – She Is Beyond Good and Evil
The Clash – The Guns of Brixton
James Chance and the Contortions – Contort Yourself
Suicide – Dream Baby Dream
Cabaret Voltaire – Nag Nag Nag
Throbbing Gristle – Hot on the Heels of Love
Devo – Mongoloid
Candido – Jingo
Dinosaur – Kiss Me Again
Machine – There but for the Grace of God Go I
Kate Bush – Wuthering Heights
Goblin – Suspiria
Blue Oyster Cult – (Don’t Fear) The Reaper
AC/DC – Highway to Hell
Van Halen – Runnin’ with the Devil
Fleetwood Mac – The Chain
Steely Dan – Deacon Blues
Electric Light Orchestra – Mr. Blue Sky
The Only Ones – Another Girl, Another Planet
The Undertones – Teenage Kicks
Plastic Bertrand – Ca plane pour moi
The Records – Starry Eyes
Cheap Trick – Surrender
The Cars – Just What I Needed
Elvis Costello and the Attractions – Radio Radio
The Cure – Boys Don’t Cry
XTC – Making Plans for Nigel
Blondie – Atomic
Talking Heads – Memories Can’t Wait
1980 – 1982
Kurtis Blow – The Breaks
Spoonie Gee Meets the Sequence – Monster Jam
The Sugarhill Gang – 8th Wonder
The Treacherous Three – The New Rap Language
The Clash – The Magnificent Seven
Talking Heads – Born Under Punches (The Heat Goes On)
Yoko Ono – Walking on Thin Ice
Klein + MBO – Dirty Talk
ESG – Moody
Grandmaster Flash and the Furious Five – The Adventures of Grandmaster Flash on the Wheels of Steel
Funky 4+1 – That’s The Joint
Kraftwerk – Numbers/Computer World 2
Afrika Bambaataa & Soulsonic Force – Planet Rock
Grandmaster Flash and the Furious Five – The Message
Glenn Branca – Lesson No. 1 for Electric Guitar
Laurie Anderson – O Superman (For Massenet)
Joy Division – Atmosphere
The Fall – Totally Wired
Elvis Costello and the Attractions – Beyond Belief
The Pretenders – Back on the Chain Gang
The B-52’s – Private Idaho
Dexys Midnight Runners – There There My Dear
Young Marble Giants – Final Day
Altered Images – Happy Birthday
The Specials – Ghost Town
Robert Wyatt – Shipbuilding
Bauhaus – Third Uncle
Adam and the Ants – Kings of the Wild Frontier
Scritti Politti – The Sweetest Girl
The Human League – Don’t You Want Me
Soft Cell – Tainted Love
The Associates – Party Fears Two
ABC – All of My Heart
New Order – Temptation
The Jam – Town Called Malice
Duran Duran – The Chauffeur
The English Beat – Save It for Later
The Go-Go’s – Our Lips Are Sealed
Tom Tom Club – Genius of Love
Prince – Dirty Mind
Daryl Hall & John Oates – I Can’t Go for That (No Can Do)
Michael Jackson – Billie Jean
ABBA – The Day Before You Came
Roxy Music – More Than This
Queen – Under Pressure
Bruce Springsteen – Atlantic City
Journey – Don’t Stop Believing
Bad Brains – Pay to Cum
Minor Threat – Minor Threat
Dead Kennedys – Holiday in Cambodia
Black Flag – Rise Above
Wipers – Youth of America
Flipper – Sex Bomb
Motorhead – Ace of Spades
Iron Maiden – Run to the Hills
Orange Juice – Blue Boy
The Television Personalities – This Angry Silence
The Fall – The Classical
The Clean – Tally Ho!
The Feelies – The Boy with the Perpetual Nervousness
R.E.M. – Radio Free Europe
Violent Femmes – Blister in the Sun
Mission of Burma – That’s When I Reach for My Revolver
1983-1986
The Smiths – This Charming Man
Sonic Youth – Death Valley ‘69
Husker Du – Pink Turns to Blue
Meat Puppets – Plateau
The Replacements – I Will Dare
Minutemen – History Lesson (Part II)
R.E.M. – So. Central Rain (I’m Sorry)
Echo and the Bunnymen – The Killing Moon
The Cure – Close to Me
Siouxsie and the Banshees – Cities in Dust
Run-D.M.C. – It’s Like That
Crash Crew – On the Radio
Rammelzee vs. K-Rob – Beat Bob
Boogie Down Productions – South Bronx
New Order – Blue Monday
Prince and the Revolution – When Doves Cry
Talking Heads – This Must Be the Place (Naïve Melody)
Kate Bush – Running Up That Hill (A Deal with God)
U2 – New Year’s Day
Simple Minds – Don’t You (Forget About Me)
The Replacements – Bastards of Young
The Mekons – Last Dance
Big Black – Kerosene
Scratch Acid – The Greatest Gift
The Jesus and Mary Chain – Just Like Honey
The Smiths – How Soon Is Now?
Cocteau Twins – Lorelei
New Order – Bizarre Love Triangle
Billy Bragg – A New England
Metallica – Battery
Slayer – Angel of Death
Saint Vitus – Clear Windowpane
Einstruzende Neubauten – Halber Mensch
Art of Noise – Beat Box (Diversion One)
Frankie Goes to Hollywood – Relax
Liquid Liquid – Optimo
Alexander Robotnick – Problemes d’Amour
Shannon – Let the Music Play
Section 25 – Looking from a Hilltop (Restructure)
Madonna – Holiday
Cyndi Lauper – Girls Just Want to Have Fun
Prince – Kiss
Run-D.M.C. – Rock Box
LL Cool J – I Can’t Live Without My Radio
Beastie Boys – No Sleep Till Brooklyn
Mantronix – Needle to the Groove
The Go-Betweens – Cattle and Cane
The Chills – Pink Frost
Felt – Primitive Painters
The Smiths – There Is a Light That Never Goes Out
Tom Waits – Jockey Full of Bourbon
Bruce Springsteen – I’m on Fire
Scott Walker – Rawhide
U2 – Bad
Don Henley – The Boys of Summer
Paul Simon – Graceland
Wayne Smith – Under Me Sleng Teng
Anthony “Red” Rose – Tempo
Model 500 – No UFO’s
1987-1990
Mr. Fingers – Can You Feel It
Rhythim Is Rhythim – Strings of Life
A Guy Called Gerald – Voodoo Ray
M/A/R/R/S – Pump Up The Volume
My Blood Valentine – You Made Me Realise
Spacemen 3 – Walking With Jesus
Ride – Dreams Burn Down
Glaxie 500 – Blue Thunder
Happy Mondays – Kinky Afro
The Stone Roses – She Bangs the Drums
Sonic Youth – Teen Age Riot
Dinosaur Jr. – Freak Scene
Butthole Surfers – Human Cannonball
Pixies – Where Is My Mind?
Fugazi – Waiting Room
Audio Two – Top Billin’
Eric B & Rakim – I Know You Got Soul
Public Enemy – Rebel Without a Pause
N.W.A. – Straight Outta Compton
Nick Cave and the Bad Seeds – The Mercy Seat
Ministry – Stigmata
The Jesus and Mary Chain – Head On
The Sugarcubes – Birthday
The Cure – Just Like Heaven
Morrissey – Everyday Is Like Sunday
The Pogues – Fairytale of New York
The Wedding Present – My Favourite Dress
The Field Mice – Emma’s House
Another Sunny Day – You Should All Be Murdered
The Dead Milkmen – Punk Rock Girl
The Primitives – Crash
The La’s – There She Goes
They Might Be Giants – Birdhouse in Your Soul
Superchunk – Slack Motherfucker
Fugazi – Merchandise
The Jesus Lizard – Mouth Breather
Slick Rick – Children’s Story
Gang Starr – Just to Get a Rep
Rob Base and DJ E-Z Rock – It Takes Two
Sal-n-Pepa – Push It
Beastie Boys – Hey Ladies
De La Soul – Me Myself and I
Biz Markie – Just a Friend
Public Enemy – Fight The Power
Guns N’ Roses – Welcome to the Jungle
Swans – Beautiful Child
John Zorn – The Sicilian Clan
Prince and the Revolution – If I Was Your Girlfriend
Madonna – Like a Prayer
Deee-Lite – Groove Is in the Heart
Pet Shop Boys – Being Boring
Sinead O’Connor – Nothing Compares 2 U
The Orb – Little Fluffy Clouds
The KLF – Wichita Lineman Was a Song I Once Heard
808 State – Pacific State
Orbital – Chime
Depeche Mode – Enjoy the Silence
My Blood Valentine – Soon
The Vaselines – Son of a Gun
Beat Happening – Indian Summer
Daniel Johnston – Some Things Last a Long Time
Mudhoney – Touch Me I’m Sick
Pixies – Wave of Mutilation
1991-1993
Nirvana – Smells Like Teen Spirit
Pavement – Summer Babe
Archers of Loaf – Web in Front
Yo La Tengo – From a Motel 6
Sebadoh – The Freed Pig
A Tribe Called Quest – Check the Rhime
De La Soul – A Roller Skating Jam Named ‘Saturdays’
Black Sheep – The Choice Is Yours
Massive Attack – Unfinished Sympathy
Tricky – Aftermath (Version 1)
Primal Scream – Higher Than the Sun
Spiritualized – Step into the Breeze
Slowdive – Alison
Aphex Twin – Xtal
Talk Talk – Ascension Day
Slint – Good Morning, Captain
Disco Inferno – The Last Dance
Stereolab – French Disko
Acen – Trip II the Moon Pts. 1 and 2
The Future Sound of London – Papua New Guinea
Human Resource – Dominator (Joey Beltram Mix)
Metalheadz – Terminator
Omni Trio – Renegade Snares
Red House Painters – New Jersey
Teenage Fanclub – The Concept
Heavenly – C Is the Heavenly Option
Tindersticks – City Sickness
Unrest – Make Out Club
Tenor Saw/Buju Banton – Ring the Alarm Quick
Dr. Dre – Nuthin’ but a ‘G’ Thang
Ice Cube – It Was a Good Day
2Pac – I Get Around
Souls of Mischief – 93 ‘Til Infinity
Suede – The Drowners
Blur – For Tomorrow
Elastica – Stutter
Ween – Doctor Rock
Wu-Tang Clan – Protect Ya Neck
Geto Boys – Mind Playing Tricks on Me
Pete Rock and C.L. Smooth – They Reminisce Over You (T.R.O.Y.)
Bikini Kill – Rebel Girl
Melvins – Hooch
Dinosaur Jr. – Start Choppin’
Pixies – U-Mass
Liz Phair – Divorce Song
PJ Harvey – Rid of Me
The Afghan Whigs – Debonair
Rage Against the Machine – Killing in the Name
The Lemonheads – It’s a Shame About Ray
Beck – Loser
The Breeders – Cannonball
Nirvana – Scentless Apprentice
1994-1996
Hole – Violet
Smashing Pumpkins – 1979
Green Day – Longview
Weezer – Say It Ain’t So
Blur – Girls & Boys
Oasis – Live Forever
Pulp – Common People
The Notorious B.I.G. – Juicy
Nas – It Ain’t Hard to Tell
Mobb Deep – Shook Ones, Pt. 2
GZA – 4th Chamber
Pavement – Gold Soundz
Built to Spill – Car
Modest Mouse – Broke
Frank Black – Headache
The Jon Spencer Blues Explosion – Bellbottoms
Guided by Voices – I Am a Scientist
Nine Inch Nails – Closer
Bjork – Hyper-Ballad
Beck – Devil’s Haircut
Portishead – Sour Times (Nobody Loves Me)
Saint Etienne – Like a Motorway
Basic Channel – Octagon
Paperclip People – Throw
DJ Shadow – Midnight in a Perfect World
Dr. Octagon – Blue Flowers
Common – I Used to Lover H.E.R.
Jeff Buckley – Grace
Mazzy Star – Fade Into You
Arthur Russell – This Is How We Walk on the Moon
Low – Words
The Auteurs – Unsolved Child Murder
Jawbox – Savory
Drive Like Jehu – Luau
Brainiac – Pussyfootin’
Napalm Death – Twist the Knife (Slowly)
Darkthrone – En As I Dype Skogen
Ol’ Dirty Bastard – Brooklyn Zoo
Snoop Doggy Dogg – Gin and Juice
Luniz – I Got 5 on It
Cutty Ranks – Limb by Limb
The Prodigy – No Good (Start the Dance)
Underworld – Born Slippy (NUXX)
The Chemical Brothers – Setting Sun
Daft Punk – Da Funk
Belle and Sebastian – The State I Am In
Elliott Smith – Needle in the Hay
The Magnetic Fields – Take Ecstasy with Me
Palace Music – New Partner
Arab Strap – The First Big Weekend
Tortoise – Gamera
The Sea and Cake – Parasol
Pavement – Rattled by the Rush
Guided by Voices – Game of Pricks
Weezer – El Scorcho
1997-1999
Radiohead – Paranoid Android
Bjork – Joga
The Verve – Bitter Sweet Symphony
Elliott Smith – Between the Bars
Cat Power – Cross Bones Style
The Clientele – Reflections After Jane
Bonnie “Prince” Billy – I See a Darkness
Smog – Teenage Spaceship
Silver Jews – Random Rules
Autechre – Arch Carrier
Boards of Canada – Happy Cycling
Herbert – So Now…
Aphex Twin – Windowlicker
Uilab – St. Elmo’s Fire
Air – Le Soleil est Pres du Moi
Massive Attack – Teardrop
Black Star – Respiration
The Notorious B.I.G. – Hypnotize
Outkast – Spottieottiedopaliscious
The Roots – The Next Movement
The Flaming Lips – Waitin’ for a Superman
The Beta Band – Dry the Rain
The Olivia Tremor Control – Hideaway
Neutral Milk Hotel – Holland, 1945
Super Furry Animals – Ice Hockey Hair
Stardust – Music Sounds Better with You
Basement Jaxx – Jump n’ Shout
Wilco – Via Chicago
Pulp – This Is Hardcore
Belle and Sebastian – Lazy Line Painter Jane
Yo La Tengo – Autumn Sweater
Sleater-Kinney – One More Hour
Refused – New Noise
The Dismemberment Plan – The City
Boredoms – Super Shine
Mogwai – Like Herod
Jim O’Rourke – Halfway to a Threeway
Sigur Ros – Svefn-g-Englar
2000-2002
Daft Punk – One More Time
Radiohead – Idioteque
Godspeed You! Black Emperor – Storm
The Avalanches – Since I Left You
Broadcast – Come On Let’s Go
Aaliyah – Try Again
Justin Timberlake – Cry Me a River
Luomo – Tessio
Vitalic – La Rock 01
Kylie Minogue – Love at First Sight
Jay-Z – Big Pimpin’
Outkast – B.O.B.
Eminem – The Real Slim Shady
Ghostface Killah – Nutmeg
Missy Elliott – Get Ur Freak On
The White Stripes – Dead Leaves and the Dirty Ground
The Strokes – The Modern Age
…And You Will Know Us by the Trail of Dead – Another Morning Stoner
Interpol – Obstacle 1
Electric Six – Danger! High Voltage
Golden Boy with Miss Kittin – Rippin Kittin’
Jurgen Paape – So Weit Wie Noch Nie
Osymyso – Intro-Inspection
The Knife – Heartbeats
LCD Soundystem – Lossing My Edge
The Rapture – House of Jealous Lovers
The Streets – Weak Become Heroes
Aesop Rock – Daylight
Rjd2 – Good Times Roll Pt. 2
Bright Eyes – The Calendar Hung Itself
Wilco – Poor Places
Queens of the Stonge Age – No One Knows
My Morning Jacket – The Way That He Sings
Modest Mouse – 3rd Planet
Clinic – Distortions
Shellac – Prayer to God
Mclusky – To Hell with Good Intentions
Lightning Bolt – Ride the Sky
The Microphones – The Moon
The New Pornographers – Letter from an Occupant
The Shins – New Slang
The Decemberists – Here I Dreamt I Was an Architect
Radiohead – Life in a Glasshouse
Broken Social Scene – Cause = Time
Deerhoof – This Magnificent Bird Will Rise
Spoon – The Way We Get By
Dizzee Rascal I Luv U
M.O.P. – Ante Up
Clipse – Grindin’
Talib Kweli – Get By
Jay-Z – Takeover
2003-2006
Outkast – Hey Ya
Kanye West – Through The Wire
R. Kelly – Ignition (Remix)
Beyonce – Crazy In Love
Gnarls Barkley – Crazy
!!! – Me and Giuliani Down by the School Yard (A True Story)
TV on the Radio – Staring at the Sun
Yeah Yeah Yeahs – Maps
The Walkmen – The Rat
Devendra Banhart – A Sight to Behold
Joanna Newsom – Peach, Plum, Pear
Sufjan Stevens – Casimir Pulaski Day
Antony and the Johnsons – Hope There’s Someone
Animal Collective – Leaf House
The Books – Take Time
M83 – Don’t Save Us from the Flames
The Postal Service – Such Great Heights
Annie – Heartbeat
M.I.A. – Galang
The White Stripes – Seven Nation Army
Franz Ferdinand – Take Me Out
The Fiery Furnaces – Here Comes the Summer
The Mountain Goats – No Children
The Wrens – She Sends Kisses
Les Savy Fav – The Sweat Descends
Ted Leo and the Pharmacists – Where Have All the Rude Boys Gone?
The Exploding Hearts – Modern Kicks
Art Brut – Formed a Band
Boris – Farewell
Mastodon – Sleeping Giant
Madvillain – America’s Most Blunted
T.I. – What You Know
Kelly Clarkson – Since U Been Gone
Amerie – 1 Thing
Ciara – Oh
The Go! Team – The Power Is On
Feist – Mushaboom
Arcade Fire – Neighborhood #1 (Tunnels)
Wolf Parade – I’ll Believe in Anything
Band of Horses – The Funeral
The Hold Steady – Stuck Between Stations
Beirut – Postcards from Italy
Johnny Boy – You Are the Generation That Bought More Shoes and You Get What You Deserve
Love Is All – Busy Doing Nothing
Jens Lekman – Black Cab
Christian Falk – Dream On
Peter Bjorn and John – Young Folks
Justice vs. Simian – We Are Your Friends
Hot Chip – Boy from School
Animal Collective – Grass
Black Dice – Cone Toaster
Liars – The Other Side of Mt. Heart Attack
Panda Bear – Bros
NOTE:
Low – Santa’s Coming Over
From the 2008 7″ single on Sub Pop Records!
Amazing vid too- simple yet very powerful!
We know they’re Mormon, but this sounds more than a tad satanic!
Yap, sounds like something from the magnificent original Wicker Man, sung by the mad islanders when burning the ‘outsider’ cop to death in the giant wicker cage (no, we shall not speak of the recent awful US remake!)!
We love it!
After Shane Mc Gowan’s majestic “Fairytale Of New York”, this is officially the best Xmas song ever!!
NOTE:
David Bowie – Live at 50
David Bowie – Live at 50
And Lou Reed, of course, who has always been, let’s say an “inspiration” to Bowie! No, we don’t necessarily mean Bowie ripped Lou off on countless albums!
David Bowie & Annie Lennox – Under Pressure
David Bowie & Frank Black – Fashion
David Bowie & Frank Black – Scary Monsters
David Bowie & Jeff Beck – The Jean Genie (Ziggy Farewell Show)
David Bowie & Lou Reed – Dirty Boulevard
David Bowie & Lou Reed – Waiting for the Man
David Bowie & Marianne Faithfull – I got you babe
David Bowie & Nine Inch Nails – Hello Spaceboy
David Bowie & Nine Inch Nails – Scary Monsters
David Bowie & Sonic Youth – I`m afraid of Americans
Here be Bowie
Big thanks to theteacomp
NOTE:
The Cure – Live in Amsterdam (1979)
The Cure – Live in Amsterdam (1979)
Good bootleg from a post-punk Cure!
Cr_1979-12-12_AdamNl.rar
Big thanks to theteacomp
NOTE:
Fascinoma – I’m Walking This Road Because You Stole My Car (Don’t Go)
And one which we
kinda like a lot now that we found it by chance and know who the hell the band is and what the hell the song’s called!
We do like pop music with a sense of humour, killer melody …. and an Asian chick singing!
Wait a sec! Fascinoma? We’ve heard that term somewhere before! Yap, it means an unusual medical case or diagnosis. Roykeanz could write a book about such phenomena!
Read more about the band here!
Because you stole my car
I’m singing this song
Cause you have all my CDs
You want me to believe
In your love
And yeah I will
When you give back my stuff
Give back my stuff
The gerbils are dead
Your books have found a home
Under the tree where I have buried your clothes
You want me to believe
In your love
And yeah I will
When you dig up your stuff
Dig up your stuff
How am I
Supposed to learn
What love is in this lifetime
How am I
Supposed to learn
What love is, what love is
If you go, if you go, if you go, if you go
Don’t go (x16)
I’m walking this road
Because you stole my heart
I’m singing this song
Cause you have all my CDs
You want me to believe
In your love
And yeah I do
Cause I can’t love you enough
Can’t love you enough
Give back my stuff
You have my love
Don’t go (x16)
It was played in the scene when Steve is having a “wet dream” moment as he put it with Simon the cat.
You can watch the complete episode online here:
http://us.imdb.com/video/hulu/vi81087…
NOTE:
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