When a man of Davis’ learned bearing declares something like that, attention must be paid. I’m listening to Trance Sex right now and it is indeed a sublime, spiritual, and tranquil experience. So far, though, its gently tintinabulating chimes, faraway chants, muted pulsations, and diaphanous drones do not seem to be coalescing into a soundtrack for hot sex—or even that of the Tantric variety. There is like zero funk up in this piece. But I’m only one-third of the way through it. We’ll see…
This song is from a Euro/UK only LP, and 45, on the Spark label, or you can find it on Tenth Planet's The Electric Lemonade Acid Test : Volume 3. (sigh) Like we needed ANOTHER reason to love Eartha!! She also has a version of "Catch The Wind"; it's the flip of the "Hurdy Gurdy" 45. Oh, I chose the live version for the link, so if you click through you can see her wonderful face as she sings.
I've seen Thee Oh Sees a few times before, and they never disappoint, but I was most looking forward to seeing Melbourne quartet quintet Total Control, who just released Henge Beat on Seattle's Iron Lung Records (I wrote about it here).
In this post, drummer/guitarist/Ralph Lauren fan Lars Finberg declared, "Total Control are the best band in America right now, only they are from Australia."
Like their Bay Area brethren, they did not disappoint, though I was surprised that TOS* didn't come out for an encore (to compensate, Finberg made a guest appearance during their set). Below: a few shots of singer/keyboard player Dan Stewart, as well as opener Grave Babies, who reminded me of a non-lysergic Teardrop Explodes (Danny Wahlfeldt also opts for an unnaturally low register).
From my vantage point, I wasn't able to capture the other members of TC, including their shit-hot drummer (well, I did snap a shot, but it didn't turn out).
* I never got close enough to get a picture of John Dwyer, et al.
by Dave Segal
on Wed, Nov 30, 2011 at 1:48 PM
The limited-edition box set of 10 45s, Wheedle's Groove: Seattle's Finest In Funk & Soul 1965-1979, which is out now, is having a release party at the Crocodile Tues. Dec. 13. Curator/crate-digger DJ Supreme La Rock will be spinning 45s and some of the artists whose music appears in the box—whose title is the gospel truth—will be in attendance and signing autographs. Action starts at 8 pm (free, 21+).
+ Only 2,000 hand-numbered copies worldwide + Ten 45rpm singles featuring original label art and housed in a gorgeous custom made magnetic flip-top box + 96 page book with new liner notes interviewing the musicians and key players, unseen photos, endless ephemera, replica Seattle SuperSonics trading card, countless photos, and loads of other archival gems + CD of "lost" Robbie Hill's Family Affair session, circa 1975 + Meticulously remastered + Free Download Card for all songs.
"Nostalgie de la boue" means ascribing higher spiritual values to people and cultures considered "lower" than oneself, the romanticization of the faraway primitive which is also the equivalent of the lower class close to home.
That photograph of Jay-Z finds much of its meaning in the expression: nostalgia for the mud.
Yuck singer Daniel Blumberg is releasing a book of his drawings (one of which you've seen on the cover of Yuck's self-titled album), and the band is packaging it up all nice with some 45s, a double 12", and a tote bag just in time for the holidays! It's only $40 for the whole package, or you could buy the book separately for $20. Not a bad deal for any Yuck fanboys/girls on your gift list.
Bonus: There will only 1,000 copies of the book printed. It'll be a collector's item! Order here.
I wanted to kind of reflect on the times, but I also wanted to reflect on how daring it could be… [P]eople were pushing boundaries in ways that I think sometimes are not pushed anymore. With that in mind, there is some reminiscing, but at the same time, I wanted to show the reader that, “Hey, 30 years ago, there was a lot of boundary-pushing going on. There is no reason why we can’t apply this to now.”
Travis Barker Vs. LAPD: Not for anything Occupy L.A. related, as Travis Barker is instead in the news for tweeting about being pulled over for illegally tinted windows and not having license plates on his car.
Expect American Airlines to Stream New Tom Petty on Their Facebook: Over at Air France's Facebook page you can listen to four tracks from Charlotte Gainsbourg's upcoming Stage Whispers album.
In Other Elvis News: One person who thinks you shouldn't buy the latest Elvis Costello box set because it's too expensive is Elvis Costello.
If You Only Listen to One Hip-Hop EP About Dads This Year: With song titles like "A Soccer Dad Wishes His Son Played Football" and "Cool Dad Is Eyeing Your Girlfriend," make sure it's the Dad-Rock EP from San Francisco's Satellite High.
If Only They Had the "Be My Baby" Drum Intro Too: An otherwise nice little cover of Jesus & Mary Chain's "Just Like Honey" by two people on pianos. Thanks BoingBoing.
by Mike Ramos
on Wed, Nov 30, 2011 at 9:57 AM
Katie Kate, Noddy, Glitterbang, Secret Shoppers
"Copenhagen," which closes Katie Kate's marvelous debut album Flatland, brings to mind OC Notes' "Danny Glover in the '80s" and Bean One's "Phoenix." It's not just that these tracks are made by talented local producers (Katie Kate needs also to be recognized as one of Seattle's most promising producers), but how smoothly, easily, expertly they handled (or reproduce) that '80s sound. With "Copenhagen," we hear a dash of Prince, a dash of electro pop, and a dash of something that escapes us, that sounds like it's from that period but you know was not there at all. The Prince and the electro are the past moving to our present; that something is Kate moving to the past and reinventing it. Also, the hi-hat in this track remind us that often it alone can make or break a tune. In this case, it makes rather than breaks. CHARLES MUDEDE
(Neptune) Though I personally prefer the more dynamic, harmonized sound of opening band Local Natives, I totally get why some people flip over the National's melancholic, slow-burning indie rock. It's great music for drinking alone or wandering the dark, wet Northwest streets to while reflecting on your very adult problems (perhaps "still owing money/to the money/to the money you owe"). It never gets too depressing, thanks to singer Matt Berninger's deep, comforting baritone, assuring you that everything is going to be okay, even if it's really not. But while the National's music is a security blanket for some, it's a mopey snooze-fest for others. The incredibly steep $49.50-plus-fees ticket price should separate these two parties pretty quickly. MIKE RAMOS
Immortal Technique, Chino XL, Da Circle, DJ GI Joe
(Neumos) Since Peruvian-born, Harlem-raised Immortal Technique's 2001 debut Revolutionary Vol. 1, he has tried to make plenty of points about institutional racism, classism, government corruption, and all sorts of other heavy issues in his spit-flecked, polysyllabic rhyme patterns. But this kind of frustrated, paranoid yelling is rarely heard out, and the rapper has instead become punch-line fodder for the likes of Das Racist's Victor Vazquez: "I'm Immortal Technique, I'm obnoxious/Hella people tellin' me to stop it." Maybe Technique could take a cue from Vazquez, another NY-based Latino rapper who uses slick humor and satire to tackle the same social issues in a milder but more thought-provoking manner. There's more than one way to get your point across, after all. MIKE RAMOS
(Showbox at the Market) In 1995, I went to London to interview Britpop icons Oasis for a national magazine's cover story. The record company gave me quality time with Noel and Liam Gallagher. Noel was charming, loquacious, and smart. Liam was agitated, inarticulate, and acted like I was keeping him from eating his pudding. So my perception of his new band, Beady Eye (featuring three former Oasis members), is colored by that unpleasantness. Do Gallagher's snarly Lennon/Lydon vocals and fabulous cheekbones hold up in this new context? Yes. The voice has weathered the years surprisingly well, and if you dig Oasis's rehashes of a narrow vein of '60s/'70s British rock (key song: "Beatles and Stones"), you'll Union Jack off to Beady Eye, too. DAVE SEGAL
The Apollos, Branden Daniel and the Chics, Monster Trap
(Funhouse) Dear Apollos: On your song "Ain't Too Proud to Drunk Dizzle (Don't Bleed)" from the new demo you just recorded in Portland, it's really hard to understand the lyrics. What the fuck are you saying? I've listened to this song 24 times, and I still can't make out a single word. I love the jangly, garage-punk beat—but I can't sing along. Were you drunk when you recorded this? Is this some sort of drinking song? Maybe you guys should be Drunk of the Week sometime. Love, KELLY O
There's a store in the Westfield Southcenter Mall that sells mostly Bob Marley tapestries and t-shirts. As a genre of music, reggae is pretty misunderstood.
I'd reckon the common person doesn't know much more about it than weed leafs and use of the word "Jah." I've had friends become incensed (har har) by this, firing off names like the Wailers, Lee Perry, King Tubby, & Coxsone Dodd with a fury. They'll yell at you for not even knowing the soundtrack to The Harder They Come. I know that soundtrack! It's really great!
You Can't Get It If You Really Want.
Last night, I was reading about the history of Morrissey's alleged racism. One missive claimed that the lyric "burn the DJ" in the Smiths song "Panic" was aimed at black disco DJs of the time. Morrissey's flirtation with skinhead imagery in 1992 didn't help his cause. In 1985, Morrissey declared that "all reggae is vile," sparking cries of racism. Later he claimed that the quote was just a joke and that he was a fan of reggae music.
I made a drawing of a t-shirt with Morrissey's quote drawn on the front and posted it on the Internet. People really liked it! Maybe not because they liked the drawing but because they hate reggae. I cannot tell, that's why I'm asking you. Is reggae vile?
"THIS IS THE BEST THING IVE EVER SEEN" - Lelah Maupin, 2011 (h/t Joe Rufa for the above video)
I guess this is as good a time as any to unleash the power of Hannah's Field's "Puff Puff Give" video (according to YouTube, 132 likes / 912 dislikes):
A long-gone tradition that, at least once, literally defined an entire genre.
Dancin’ Master NME001 1981
Tom Browne : "Funkin' For Jamaica" Linx : "I Wanna Be With You" Grace Jones : "Feel Up" Talking Heads : "Cities [Live]" Elvis Costello & The Attractions : "Big Sister" Beggar & Co : "Laughing On" Funky 4 + 1 : "That’s The Joint" Ian Dury & The Blockheads : "Inbetweenies [Live]" Kid Creole & The Coconuts : "There But For The Grace Of God Go I" Lounge Lizards : "Stompin' At The Corona [Live]" The Polecats : "Rockabilly Guy [Dub]" Lloyd Coxone : "Zion Bound" Madness : "Shadow On The House" The Beat : "Hit It!" Grandmaster Flash & The Furious Five : "The Birthday Party" Junior Giscombe : "Mama Used To Say" The B-52s : "Give Me Back My Man [Instrumental]" Susan : "24,000 Kiss" The Jam : "When You’re Young [Live]" Dennis Bovell : "Better" The Plastics : "Last Train To Clarkesville" James White & The Blacks : "Contort Yourself" The Teardrop Explodes : "Traison (C’est Juste Une Histoire)" U2 : "An Cat Dubh"
According to a press release (titled ALL CAPS exactly as above) forwarded to me by a person, the original artwork for Let it Bleed will be put up for auction on December 15th at Bonhams in Knightsbridge, London. It's expected to fetch £30,000-40,000. That's over 46,000 bags of Funyons that cost $.99 to you and me.
Let it Bleed is the last Rolling Stones album to feature Brian Jones before he was "allegedly murdered" in his giant backyard bathtub.
I drawed this.
I'm not sure what's exactly being auctioned at Bonhams, the back cover of Let it Bleed shows the whole tire pizza record cake all smooshed up. It's probably just a photograph of the whole thing? Maybe a negative? I'm pretty dumb, your guess is as good as mine.
Also being auctioned at Bonhams that day, a Martin 000-28 EC Eric Clapton signature model acoustic guitar, used by Clapton for recording Change the World and the Pilgrim album, estimated to fetch £20,000-30,000 (!!!!!!!!!!!!!!!!!!), a Jimi Hendrix jacket/cape, estimated to net £3,000-5,000 (!!!!!!!!!!!!!!!!!!!!!!!!!!!!!). In the immortal words of Bob Geldof and Midge Ure, "DO THEY KNOW IT'S CHRISTMAS TIME?"