Oksikemia

Cuneiform has delivered a Holy Grail with Robert Wyatt‘s ‘68. Of its four recordings, half were thought lost or not to have existed. After their second whirlwind tour of the U.S.A. with the Jimi Hendrix Experience, the exhausted members of Soft Machine went their separate ways. Wyatt remained in California and later in New York that fall as a guest of the Experience. He was granted access to the TTG and Record Plant studios in off hours.
Wyatt sang and played drums, piano, organ, and even bass, save for on “Slow Walkin’ Talk” — more on that below. There are two long suites here.
First is the fragmental, nearly 20-minute loose collection of songs “Rivmic Melodies,” which ended up becoming the blueprint for the first side of Soft Machine’s second album (with Hugh Hopper…

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…replacing Kevin Ayers). It would obviously be tightened and rearranged somewhat, but included here are some wonderful extended elaborations in the “Alphabet” section, and to a lesser degree in the “Dada Was Here” portion. There are lovely vocal overdubs as Wyatt twins his voice, then interacts with it while singing in Spanish amid his inventive chordal piano constructions. Though it does feel like a work in the process of discovery, it holds few rough edges. A demo of half of the iconic “Moon in June,” which accounted for Wyatt’s side of Third, was recorded during this period; the latter half was cut in England in 1969, with Hopper and Mike Ratledge entering near the halfway mark, exploding the demo with careening improvisation. The demo of “Moon in June” — which appeared with inferior fidelity on Cuneiform’s 2002 Soft Machine archival set Backwards and is sonically improved here — balances long-form rock dynamics against Wyatt’s jazz leanings, incorporating them in carefree exploration. As such, songwriting, arrangement, and improvisation form an equilateral triangle that fully reveals the band’s massive potential. Opener “Chelsa,” a recently discovered acetate, commences as a midtempo organ-driven rocker with a basic drum track. The lyrics, composed by Daevid Allen, adorn Wyatt’s lovely baroque psych-pop melody. In 1975, it would be rearranged, get new words, and end up as “Signed Curtain” on Matching Mole’s debut album. “Slow Walkin’ Talk,” by Brian Hopper, is a jazzed-up, Mose Allison-inspired bumping piano blues from Wyatt’s early Wilde Flowers days. While recording, Hendrix stepped into the studio to inquire as to whether Wyatt might like him to record a bass part that he needn’t feel obligated to use. Jimi nailed it in one take, changing the track’s dynamic almost entirely. The sound on ’68 is excellent; it was painstakingly cleaned up and remastered from original sources, making this a must for any Wyatt, SM, or prog head. The booklet also contains a lengthy interview with Wyatt by Aymeric Leroy with comments from Hopper. All killer, no filler.

Philip Clark and host Derek Walmsley discuss Charles Mingus’s three decade plus career in this week’s episode of Wire magazine’s Adventures In Sound And Music. Follow this link to listen in:

http://www.thewire.co.uk/audio/on-air/adventures-in-sound-and-music8-november-2012

Μετά από πάρα πολύ καιρό, έβαλα ένα ποτήρι κρασί να πίνω, έτσι, για τον τίτλο του άρθρου.

Λοιπόν. Το In Utero. Δύσκολη φάση. Επανεκδόθηκε, όπως και να ‘χει, πριν λίγο καιρό για τα πενήντα χρόνια από την πρώτη κυκλοφορία του. Τριπλό. Φαντάσου τι έχει να γίνει στα εκατό. Τέλος πάντων. Ίσως σήμερα να μη φαίνεται ως κάτι σημαντικό αυτό που έγινε με τους Nirvana τότε, οι περισσότεροι τη γενιάς μου, κι εγώ ακόμα, δε βάζουμε καν να ξανακούσουμε αυτούς τους δίσκους που τα γάμησαν όλα. Τότε. Ο Jello Biafra είχε πει ότι το Grunge δεν ήταν τίποτα περισσότερο από μία προσπάθεια των δισκογραφικών να “κόψουν” την ξέφρενη πορεία του Hip Hop. Μπορεί. Από την άλλη μου είναι αδύνατο να φανταστώ μια γενιά φλώρων - γιατί αυτό ήμουν και είμαι - να μεγαλώνει με γκάνια και τις μαραγκιασμένες ψωλές τους να ανεμίζουν στα μούτρα από τις σπυριάρες γκόμενές τους. Ήθελε το “ροκ” της. Όπως οι γονείς τους, ξέρεις. Η διαφορά με τον πατέρα μου είναι ότι αυτός δε βαρέθηκε ποτέ τους Pink Floyd. Το δικό του “ροκ”.

Το In Utero… Γάμησέ τα. Μόλις είχα συνέλθει από το Incesticide, με το που ακουμπούσε η βελόνα το Dive έτρεχα στον καθρέφτη να τσεκάρω τη χωρίστρα μου, είχα ψιλο-μακρύ μαλλί τότε, για γέλια ήμουν, καλύτερα τώρα με ασπρίλα και αραίωση. Για να εκτιμήσω το Nevermind, έπρεπε να σκάσει το video του Come As You Are, το Smells… μου ‘σπαγε τ’ αρχίδια. Αλλά ναι. Βγήκε το In Utero. Όπου για πρώτη φορά είδα γραμμένο το όνομα κάποιου Steve Albini. Και μετά από λίγο καιρό ο Cobain πέθανε. Δε θα μπω στο συναισθηματικό αίσχος που βίωσα, ο θάνατος του Rowland Howard με πείραξε περισσότερο για να είμαι ειλικρινής, από ‘κει κι έπειτα όμως επιδόθηκα σε ένα ανελέητο κυνήγι αντικαταστάτη του, κάποιους να με γεμίζουν εξίσου, φαντάσου δηλαδή όλους αυτούς που σε κάποια φάση διαλύθηκαν οι Beatles. Πως αντικαθίσταται όλη αυτή η pop μαγεία, που σε γεμίζει όσο τίποτα; Πώς; Αγγλία ήταν άλλη φάση, η Αμέρικα “ρόκαρε” υπερβολικά από το ’94 και μετά, τέλος πάντων, κατάφερα να βρω εκατοντάδες άλλες μπάντες για να συμπληρώσω το κενό. Που άφησε ένας άνθρωπος μόνο. Γάμησέ τα ε;

Το In Utero. Παραμένει το απόλυτο ντοκουμέντο σήμερα του πόσο καταπληκτικός νράμμερ ήταν – είναι – ο Dave Grohl. Το ‘χει πάρει πάνω του και κεντάει. Η δύναμη του συγκεκριμένου δίσκου, θεωρώ, είναι η διαφοροποίηση μεταξύ των συνθέσεων, όλες όμως πίσω από ένα συγκεκριμένο ήχο. Όλα τα κομμάτια διαφέρουν ρε, αυτό εννοώ, δεν είναι Generic, όπως δεν ήταν και το VS των Pearl Jam, το Jar of Flies των Alice in Chains, το Dirty των Sonic Youth και κανένα των Mudhoney. Σκέψου τι μπορούν να κάνουν κομμάτια σαν το Milk it στο μπερδεμένο μυαλό ενός εφήβου. Αυτή η φοβερή παύση και η κραυγή που ξεχύνεται γεμίζοντας τα πάντα. Μέσα. Έξω. Μια τεράστια καυλόφουσκα. Μπαμ.

Teenage angst has paif off well, now I’m bored and old… Ωραίος τρόπος να ξεκινήσεις το απόλυτο αριστούργημα ε; Γιατί για ‘μένα αυτό ήταν το In Utero. Ο δίσκος που, όσο και να προσπαθούσαν, δε θα μπορούσαν να ξεπεράσουν ποτέ. Που κάθε βδομάδα κάποιο άλλο κομμάτι γινόταν το αγαπημένο σου. Που πάντα είχε κάτι ν’ ανακαλύψεις. Στα 34 δεν έχει και τόσα, αλλά δεν πειράζει. Μου άνοιξε τις πύλες του “ανεξάρτητου ροκ” το οποίο – όπως είναι προφανές – λατρεύω μέχρι σήμερα. Στην τελική για πόσες μπάντες μπορείς να πεις ότι, επειδή έπεσαν στα αυτιά σου σε κάποια στιγμή της ζωής σου, ακούς μουσική μέχρι σήμερα. Να ‘ναι δύο; Τρεις; Μία; Μία.

Με συγχωρείτε τώρα, πάω να στείλω μια επιταγή στη Frances Bean…

Επιτέλους τα λουκέτα σπάσανε, ο Δήμος είναι πια μέσα στην παιδική χαρά του Αγίου Παντελεήμονα! Και όχι αμήχανος, όπως εδώ και 4 χρόνια που παραμένει κλειστή, αλλά αποφασιμένος κατά πως φάνηκε σήμερα το πρωί να αλλάξει την κατάσταση. Απ' το πρωί συνεργεία του Δήμου επιμελούνται του χώρου: κλαδεύουν δέντρα, καθαρίζουν, μετράνε τον χώρο και μετά από ρεπορτάζ ο χώρος θα αποδοθεί άμεσα στους κατοίκους. Αρχικά, κι αφού απομακρυνθούν τα κατεστραμμένα και επικίνδυνα όργανα της παιδικής χαράς, θα είναι ανοικτός στην περατζάδα, ενώ θα ακολουθήσει το γκρέμισμα των καγκέλων της περίφραξης και η ενοποίηση όλης της πλατείας, ενέργεια λογική, θα ανοίξει ο χώρος και θα δοθεί η έμφαση που πρέπει στο ιδιαίτερο το να φιλοξενεί η περιοχή την "μεγαλύτερη εκκλησία των Βαλκανίων" με ότι αυτό σημαίνει ως προς την χρήση του ως αξιοθέατο πια της πόλης. Το αίτημα της τοπικής ομάδας "Αετός" για μπασκέτες στο σημείο μάλλον δεν βρίσκει πρόσφορο έδαφος, ενώ προς αντικατάσταση της παλιάς χρήσης θα δημιουργηθεί παιδότόπος, όπως είχε από παλιά χωροθετηθεί, στην άλλη πλευρά του Ναού.
Επιτέλους ο παραλογισμός καθημερινά δεκάδες παιδιά της πυκνοδομημένης γειτονιάς να στριμώχνονται στο ελεύθερο μέρος της πλατείας για να παίξουν, θα λήξει κι ευκαιρία στην αδικήμένη -από πραγματικά μειοψηφίες- γειτονιά να αποτινάξει την φήμη που απέκτησε προσφάτως.

One of the most talked about bands on London’s leftfield jazz scene since their formation two years ago, Sons of Kemet release their debut album, Burn, on the Naim Jazz label on 9 September.
Led by saxophonist/clarinettist Shabaka Hutchings, with tuba virtuoso Oren Marshall and drummers Tom Skinner and Seb Rochford – plus guest guitarist Dave Okumu (of electro-rock trio The Invisible) also on the sessions – Sons of Kemet whip up a bewitching brew of African, Arabic and Caribbean sounds laced with dub reggae in the vein of cult Jamaican drummer Count Ossie and his band Mystic Revelation of Rastafari, via the transcendental sax flights of Pharoah Sanders. Conceptually the twin-drummer set-up is inspired by polyrhythmic west African drumming, creating…

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…conversational percussive layers to hypnotic effect, which hooked to Marshall’s depth-charge tuba bass lines and heady live effects and Hutchings’ scything melodic lines on top, creates a wall of head-spinning sounds. Recorded with all bandmembers in the same room the intensely meshed recording also embraces electronics and club-style beats simultaneously referencing deep diasporic African music and a highly danceable street-level energy on one of the most exciting UK albums of the year so far.

3CD Super Deluxe Edition feature the remastered album, B-sides, unheard demos, compilation tracks, live recordings, spanning over 70 tracks.
The live material includes the “Live and Loud” concert from Pier 48 in Seattle, which took place December 13, 1993.
Nirvana probably hired Steve Albini to produce In Utero with the hopes of creating their own Surfer Rosa, or at least shoring up their indie cred after becoming a pop phenomenon with a glossy punk record.
In Utero, of course, turned out to be their last record, and it’s hard not to hear it as Kurt Cobain’s suicide note, since Albini’s stark, uncompromising sound provides the perfect setting for Cobain’s bleak, even nihilistic, lyrics. Even if the album wasn’t a literal suicide note,…

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…it was certainly a conscious attempt to shed their audience — an attempt that worked, by the way, since the record had lost its momentum when Cobain died in the spring of 1994. Even though the band tempered some of Albini’s extreme tactics in a remix, the record remains a deliberately alienating experience, front-loaded with many of its strongest songs, then descending into a series of brief, dissonant squalls before concluding with “All Apologies,” which only gets sadder with each passing year. Throughout it all, Cobain’s songwriting is typically haunting, and its best moments rank among his finest work, but the over-amped dynamicism of the recording seems like a way to camouflage his dispiritedness — as does the fact that he consigned such great songs as “Verse Chorus Verse” and “I Hate Myself and Want to Die” to compilations, when they would have fit, even illuminated the themes of In Utero. Even without those songs, In Utero remains a shattering listen, whether it’s viewed as Cobain’s farewell letter or self-styled audience alienation. Few other records are as willfully difficult as this.

• Disc 1 features the original album with previously released B-sides and bonus tracks from the era, as well as Steve Albini’s unreleased mixes of singles “Heart-Shaped Box” and “All Apologies”
• Disc 2 contains a newly-mixed version of the album (the band was famously skittish about Albini’s production, allowing Scott Litt to remix singles “Heart-Shaped Box” and “All Apologies” as well as cancelled single “Pennyroyal Tea”; it’s unknown as of yet who’s behind this new mix) with 11 unreleased demos, including a never-before-heard song, “Forgotten Tune”
• The Live and Loud concert on CD (Disc 3) and DVD (Disc 4), the latter also featuring both cuts of the video for “Heart-Shaped Box” and other live content from the band’s European tour

Disc 1: Original LP (released as DGC DGCD-24607, 1993) and bonus tracks

1. Serve the Servants
2. Scentless Apprentice
3. Heart-Shaped Box
4. Rape Me
5. Frances Farmer Will Have Her Revenge on Seattle
6. Dumb
7. Very Ape
8. Milk It
9. Pennyroyal Tea
10. Radio Friendly Unit Shifter
11. tourette’s
12. All Apologies
13. Gallons of Rubbing Alcohol Flow Through the Strip (ex-U.S. bonus track – Geffen GED 24536)
14. Marigold (B-side to “Heart Shaped Box” – Geffen GFS 54 (U.K.), 1993)
15. Moist Vagina (B-side to “All Apologies” – Geffen GFS 66 (U.K.), 1993)
16. Sappy (from No Alternative compilation – Arista 07822 18737-2, 1993)
17. I Hate Myself And Want to Die (from The Beavis and Butt-head Experience compilation – Geffen GEFD-24613, 1993)
18. Pennyroyal Tea (Scott Litt mix) (from European CD single – Geffen GED 21907, 1994)
19. Heart-Shaped Box (Steve Albini Mix) *
20. All Apologies (Steve Albini Mix) *

Disc 2: New album mix and demos *

1. Serve the Servants (2013 Mix)
2. Scentless Apprentice (2013 Mix)
3. Heart-Shaped Box (2013 Mix)
4. Rape Me (2013 Mix)
5. Frances Farmer Will Have Her Revenge on Seattle (2013 Mix)
6. Dumb (2013 Mix)
7. Very Ape (2013 Mix)
8. Milk It (2013 Mix)
9. Pennyroyal Tea (2013 Mix)
10. Radio Friendly Unit Shifter (2013 Mix)
11. tourette’s (2013 Mix)
12. All Apologies (2013 Mix)
13. Scentless Apprentice (Rio Demo)
14. Frances Farmer Will Have Her Revenge on Seattle (Laundry Room Demo)
15. Dumb (Word of Mouth demo)
16. Very Ape (Rio Demo)
17. Pennyroyal Tea (Word of Mouth Demo)
18. Radio Friendly Unit Shifter (Word of Mouth Demo)
19. tourette’s (Word of Mouth Demo)
20. Marigold (Upland Studios Demo)
21. All Apologies (Music Source Demo)
22. Forgotten Tune (Rehearsal)
23. Jam (Word of Mouth Demo)

Disc 3: Live and Loud - Pier 48, Seattle – 12/18/1993

1. Radio Friendly Unit Shifter
2. Drain You
3. Breed
4. Serve the Servants
5. Rape Me
6. Sliver
7. Pennyroyal Tea
8. Scentless Apprentice
9. All Apologies
10. Heart-Shaped Box
11. Blew
12. The Man Who Sold the World
13. School
14. Come As You Are
15. Lithium
16. About a Girl
17. Endless, Nameless

The Internet drops the video for “Dontcha” from their forthcoming Feel Good LP dropping September 24th on Odd Future Records. The casual black & white clip directed by Lacey Duke features Syd Tha Kyd killing the bouncy dance track in her socks with the band rocking out behind her. Fresh from a roadtrip with Mac Miller, The Internet delivers with a sweet track to prep fans for the official release of their sophomore LP. The highly-anticipated soul project features executive production from Mike Einziger with Thundercat and Chad Hugo on the assist. Check the footage below to watch the video for “Dontcha” from The Internet. Stay tuned for more from The Internet’s forthcoming Feel Good LP.

The post The Internet – “Dontcha” [Official Video] appeared first on Okayplayer.

Most box sets are designed to enshrine an artist in the amber of posterity. The idea is that the artist has transcended their time, that they can now be appreciated outside of the context of their era.
The digital age, where recordings from the past sit comfortably with tunes from the present, accelerates this trend, suggesting that all the classic artists exist upon their own continuum, that their development was almost a product of self-divination. What is interesting about Sound System is that it throws this notion out the window and celebrates the era that produced the Clash as much as it celebrates the band itself. As designed by Clash bassist Paul Simonon,…

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…Sound System looks like an old-school ghetto blaster, and it’s filled with replicas of fanzines, stickers, badges, press photos, posters, dog tags — all manner of period-specific tchotchkes that walk the line between nostalgia and commercial art. This aesthetic trickles down to the presentation of the music itself, with London Calling split over two CDs where it could easily fit onto one and Sandinista! taking up a full three discs. Such details slightly impede playability if Sound System is listened to as a series of CDs, but once the set is ripped and listened to digitally, the divided discs are simply another design flourish, one of many little things to appreciate. But Sound System is also attractive in delivering what effectively is the Complete Clash in one sitting. Apart from the disowned Cut the Crap, all the albums are here — the U.K. version of The Clash, Give ‘Em Enough Rope, London Calling, Sandinista!, Combat Rock — along with three discs of extras that include all the non-LP singles (i.e., the singles that were added to the U.S. pressing of the debut, plus everything that wound up on the clearinghouse Super Black Market Clash, such as the Cost of Living EP), oddities that appeared on the first Clash box Clash on Broadway in 1991, and B-sides; then, most attractively for collectors, previously unreleased mixes, outtakes from Combat Rock, “extracts” from the band’s first recording session in 1976, Polydor demos from that same year produced by Guy Stevens, and six live cuts from the Lyceum in 1979. Then, there’s the DVD which contains all the band’s promo videos, the Clash on Broadway video, the White Promo Film, footage from Sussex University in 1977, and individual selections from Clash compatriots Don Letts and Julian Temple. Perhaps there are still some stray tracks in the vaults — this seems to excavate all the unheard songs from Rat Patrol from Fort Bragg, aka the original version of Combat Rock and some cuts may be left behind — but this is as complete as we’ll get and if it doesn’t present any fresh revelations, it brings the Clash’s era back to life, both sonically and visually.

Disc 1: The Clash (released as CBS Records LP S-CBS 82000, 1977)

1. Janie Jones
2. Remote Control
3. I’m So Bored with the U.S.A.
4. White Riot
5. Hate & War
6. What’s My Name?
7. Deny
8. London’s Burning
9. Career Opportunities
10. Cheat
11. Protex Blue
12. Police & Thieves
13. 48 Hours
14. Garageland

Disc 2: Give ‘Em Enough Rope (released as CBS Records LP S-CBS 82431, 1978)

1. Safe European Home
2. English Civil War (Johnny Comes Marching Home)
3. Tommy Gun
4. Julie’s Been Working for the Drug Squad
5. Last Gang in Town
6. Guns on the Roof
7. Drug-Stabbing Time
8. Stay Free
9. Cheapskates
10. All the Young Punks (New Boots and Contracts)

Discs 3-4: London Calling (released as CBS Records LP S-CBS 88478, 1979)

1. London Calling
2. Brand New Cadillac
3. Jimmy Jazz
4. Hateful
5. Rudie Can’t Fail
6. Spanish Bombs
7. The Right Profile
8. Lost in the Supermarket
9. Clampdown
10. The Guns of Brixton

1. Wrong ‘Em Boyo
2. Death or Glory
3. Koka Kola
4. The Card Cheat
5. Lover’s Rock
6. Four Horsemen
7. I’m Not Down
8. Revolution Rock
9. Train in Vain

Discs 5-7: Sandinista! (released as CBS Records LP FSLN-1, 1980)

1. The Magnificent Seven
2. Hitsville UK
3. Junco Partner
4. Ivan Meets G.I. Joe
5. The Leader
6. Something About England
7. Rebel Waltz
8. Look Here
9. The Crooked Beat
10. Somebody Got Murdered
11. One More Time
12. One More Dub

1. Lightning Strikes (Not Once But Twice)
2. Up in Heaven (Not Only Here)
3. Corner Soul
4. Let’s Go Crazy
5. If Music Could Talk
6. The Sound of Sinners
7. Police on My Back
8. Midnight Log
9. The Equaliser
10. The Call Up
11. Washington Bullets
12. Broadway

1. Lose This Skin
2. Charlie Don’t Surf
3. Mensforth Hill
4. Junkie Slip
5. Kingston Advice
6. The Street Parade
7. Version City
8. Living in Fame
9. Silicon on Sapphire
10. Version Pardner
11. Career Opportunities
12. Shepherd’s Delight

Disc 8: Combat Rock (released as CBS Records LP FMLN-2, 1982)

1. Know Your Rights
2. Car Jamming
3. Should I Stay or Should I Go
4. Rock the Casbah
5. Red Angel Dragnet
6. Straight to Hell
7. Overpowered by Funk
8. Atom Tan
9. Sean Flynn
10. Ghetto Defendant
11. Inoculated City
12. Death is a Star

Disc 9: Non-LP material

1. White Riot (Single Version) (single A-side – CBS 5058, 1977)
2. 1977 (single B-side – CBS 5058, 1977)
3. Listen/Interview with The Clash on the Circle Line (from Capital Radio EP – CBS CL-1, 1977)
4. Capital Radio One (from Capital Radio EP – CBS CL-1, 1977)
5. London’s Burning (Live) (B-side to “Remote Control” – CBS 5293, 1977)
6. Complete Control (single A-side – CBS 5664, 1977)
7. City of the Dead (single B-side – CBS 5664, 1977)
8. Clash City Rockers (single A-side – CBS 5834, 1978)
9. Jail Guitar Doors (single B-side – CBS 5834, 1978)
10. (White Man in) Hammersmith Palais (single A-side – CBS 6383, 1978)
11. The Prisoner (single B-side – CBS 6383, 1978)
12. 1-2 Crush on You (B-side to “Tommy Gun” – CBS 6788, 1978)
13. Time is Tight (from Black Market Clash - Epic/Nu-Disk 4E 36846 (U.S.), 1980)
14. Pressure Drop (B-side to “English Civil War” – CBS 7082, 1979)
15. I Fought the Law (from The Cost of Living EP – CBS 7324, 1979)
16. Groovy Times (from The Cost of Living EP – CBS 7324, 1979)
17. Gates of the West (from The Cost of Living EP – CBS 7324, 1979)
18. Capital Radio Two (from The Cost of Living EP – CBS 7324, 1979)
19. Armagideon Time (B-side to “London Calling” – CBS 8087, 1979)
20. Bankrobber (single A-side – CBS 8323, 1980)
21. Rockers Galore…U.K. Tour (single B-side – CBS 8323, 1980)

Disc 10: More non-LP material and outtakes

1. The Magnificent Dance (12″ B-side to “The Call Up” – Epic 48-02036 (U.S.), 1981)
2. Midnight to Stevens (from Clash on Broadway box set – Epic/Legacy E3K 46991, 1991)
3. Radio One (B-side to “Hitsville UK” – CBS 9480, 1980)
4. Stop the World (B-side to “The Call Up” – CBS 9339, 1980)
5. The Cool Out (12″ B-side to “The Call Up” – Epic 48-02036 (U.S.), 1981)
6. This is Radio Clash (single A-side – CBS A-1797, 1981)
7. Radio Clash (single B-side – CBS A-1797, 1981)
8. First Night Back in London (B-side to “Know Your Rights” – CBS A-2309, 1982)
9. Rock the Casbah (Bob Clearmountain 12″ Mix) *
10. Long Time Jerk (B-side to “Rock the Casbah” – CBS A-2749, 1982)
11. The Beautiful People Are Ugly Too *
12. Idle in Kangaroo Court *
13. Ghetto Defendant (Unedited/Extended Version) *
14. Cool Confusion (B-side to “Should I Stay or Should I Go” – CBS A-3186, 1982)
15. Sean Flynn (Extended “Marcus Music” Version) *
16. Straight to Hell (Unedited) (from Clash on Broadway box set – Epic/Legacy E3K 46991, 1991)

Disc 11: Demos and live cuts

1. I’m So Bored with the U.S.A. (Beaconsfield Film School Demo, 1976)
2. London’s Burning (Beaconsfield Film School Demo, 1976) (from Selections from “Revolution Rock” promo CD – Epic/Legacy 88697 28275 2, 2008)
3. White Riot (Beaconsfield Film School Demo, 1976) (from Selections from “Revolution Rock” promo CD – Epic/Legacy 88697 28275 2, 2008)
4. 1977 (Beaconsfield Film School Demo, 1976) (from Selections from “Revolution Rock” promo CD – Epic/Legacy 88697 28275 2, 2008)
5. Janie Jones (Polydor Demo) (from Clash on Broadway box set – Epic/Legacy E3K 46991, 1991)
6. Career Opportunites (Polydor Demo) (from Clash on Broadway box set – Epic/Legacy E3K 46991, 1991)
7. London’s Burning (Polydor Demo) *
8. 1977 (Polydor Demo) *
9. White Riot (Polydor Demo) *
10. City of the Dead (Live @ The Lyceum, London – 12/28/1978) (from From Here to Eternity: Live - Columbia 496183 2, 1999)
11. Jail Guitar Doors (Live @ The Lyceum, London – 12/28/1978) *
12. English Civil War (Live @ The Lyceum, London – 12/28/1978) (from Clash on Broadway box set – Epic/Legacy E3K 46991, 1991)
13. Stay Free (Live @ The Lyceum, London – 12/28/1978) *
14. Cheapskates (Live @ The Lyceum, London – 12/28/1978) *
15. I Fought the Law (Live @ The Lyceum, London – 12/28/1978) (from Clash on Broadway box set – Epic/Legacy E3K 46991, 1991)

Δόξα τω θεώ, δουλειές λιγοστές, ο χρόνος αρκετός και μια εξάσκηση πάντα απαραίτητη σε ένα μοντέλο δια βίου δραστηριοποίησης που είναι το ζητούμενο για μας τους ΝοτιοΔανούς. Αγαπημένη επέτειος λοιπόν η 3η του Σεπτέμβρη, των 180 χρόνων Πασοκ, που χάρισε αυτόν τον υπέροχο ελεύθερο χρόνο. Πέρα από την ειρωνεία πάντως, καλλιτεχνικά, μπορούμε να κρατήσουμε το καταπληκτικό του λόγκο που πραγματικά είναι ατέρμονο δυνατοτήτων γραφιστικά, εξαιρετικά παττερνς, μοναδική βάση για παιχνίδισμα.
Μέρα γιορτινή αποκλειστικά στο athensville ΠΑΣΟΚ ΓΟΥΟΛΠΕΗΠΕΡΣ! :-) ! (κλικ και κατέβασε: ανάλυση 1600x900)

Sons Of Kemet are led by clarinetist, saxophonist and composer Shabaka Hutchings with Oren Marshall on tuba and both Tom Skinner and Seb Rochford on drums. For the jazzers amongst you, that line-up alone will be enough to have you dribbling with anticipation, but if you need any more convincing, their debut album ‘Burn’ is set to drop on Naim Jazz Records on 9th September 2013 and it sounds like this…

I strongly urge you to check out these guys live – you can catch them celebrating the release of ‘Burn’ at the Vortex Jazz Club, London two nights running… Monday 2nd and Tuesday 3rd September 2013.
INFO / TICKETS

Sons Of Kemet on Facebook
Naim Jazz Records

Οι φίλες μου είναι 30-something τύπισσες, ανεξάρτητες και τα σχετικά, χειραφετημένες, ξέρεις. Όλο τα πακέτο. Υπαρξιακά και τα σχετικά τα συζητάμε συχνά πυκνά, όταν δε γκρινιάζουμε για δουλειές, πολιτικές μπούρδες, τέχνη, πρέζα, χάος, ποίηση, λογοτεχνία, εκπόρνευση μηδαμινών προσωπικοτήτων στο βωμό του κέρδους (το γάμησα, σκάω) και κυρίως όταν έχουμε πιει αυτό το ποτήρι παραπάνω που σε κάνει να αισθάνεσαι ψιλο-χάλια την επόμενη μέρα. Τότε είναι που αρχίζουν τα βαριά. Εισαγωγή αυτό. Πάμε στα πιο ενδιαφέροντα τώρα.

Στην τελευταία μας συζήτηση, στην οποία ομολογώ ότι δε συμμετείχα και τρελά, αναλύθηκαν δύο τύποι ανδρός. Γιατί είναι εύκολο να διαχωρίζονται όλα διά του δύο. Τέλος πάντων. Ο πρώτος είναι ο τύπος με τα υπαρξιακά, τις καλλιτεχνικές τάσεις, ο ευαίσθητος, ο λόγιος, ο κλάψας με την αξιοζήλευτη βιβλιοθήκη, η γκόμενα. Ο δεύτερος είναι ο ξυρισμένος παντού μουσκλιάρης, με τα ταττού, την αυτοπεποίθηση ατόμου που έπεσε στη χύτρα με την κόκα, το ψευδοκοκκόρι για μαλλί και την πούτσα σαν ταϊσμένο με κρεατίνες και βαρβιτουρικά άλογο κούρσας.

Γάμησέ τα. Ο διαχωρισμός είναι σκληρός, το καταλαβαίνω, γκόμενα ή κλαρινογαμπρός. Η επιλογή δύσκολη. Ή τουλάχιστον έτσι νόμισα.

Κατά τα φαινόμενα και μετά από πολυετή έρευνα ο λιγότερος εκ των δύο στην παρούσα ηλικιακή φάση τους, ήταν ο πρώτος. Όλως παραδόξως δεν είχε να προσφέρει τίποτα απολύτως. Το αντίθετο μάλιστα. Ο δεύτερος δεν είχε τίποτα να προσφέρει επίσης, εκτός από τα προφανή, αυτά δηλαδή που βρίσκονται πλημμελώς κρυμμένα στο εσώρουχό του. Η εσωτερική καλλιέργεια, λοιπόν, παραχωρεί το θρόνο της στις απολαύσεις της σάρκας. Η νοημοσύνη αντικαθίσταται από την αγνή βλακεία. Το ακριβό κρασί από την παγωμένη Coca-Cola Light. Το γαμάτο Asics από τη σιχαμένη σαγιονάρα. Το μποξεράκι από το male g-string. Ο Bruce Willis από τον Ashton Kutcher.

Ομολογώ ότι με έπιασαν στον ύπνο. Ιδίως όταν προς στιγμή ένιωσα και τη δικιά μου καρέκλα να τρέμει, καθώς η σύντροφός μου όχι απλά στήριζε τη συγκεκριμένη θέση, αλλά, εχμ, ξεκίνησε και τη συζήτηση.

Η μπύρα μου ζεσταινόταν όσο κάπνιζα το ένα τσιγάρο πίσω απ’ τ’ άλλο, γνήσιοι εκπρόσωποι του φεμινιστικού κινήματος μου εξομολογούνταν ότι θα πετούσαν το μουνί τους με τη μία σε ένα φάρο άχρηστης σάρκας (ο προφανέστατος φαλλικός συμβολισμός είναι καθ’ όλα εσκεμμένος), θυσιάζοντας χωρίς ιδιαίτερη σκέψη τα όποια θετικά είχε τη δυνατότητα να προσφέρει κάποιος έτσι έξυπνος, επικαλούμενες τα τεράστια αρνητικά που έφερε μαζί τους. Κάπνισα λίγο ακόμα. Οποιαδήποτε επέμβαση μου φάνηκε περιττή.

Τότε. Είπα να την κάνω εδώ. Είμαι περισσότερο του γραπτού λόγου άλλωστε. Και των Turn-Based Role Playing Games.

Αγαπητές μου φίλες, γνωρίζετε ότι δεν είμαι των κοινωνικών συμβάσεων και τα σχετικά, απλά θεωρώ στην παρούσα φάση ότι σας διέφυγε μία πολύ σημαντική λεπτομέρεια. Κάποια στιγμή θα πρέπει να κυκλοφορήσετε το εν λόγω φουσκωτό και άτριχο έκτρωμα που φτιάχνει βρύσες, αλλάζει λάμπες και ξέρει πως να επέμβει όταν το αμάξι σας κάνει “ένα περίεργο θόρυβο”. Όντας παραδοσιακά ηλίθιος, αυτό το πλάσμα που προέκυψε από καθαρή αστοχία σπέρματος (κατέληξε σε μουνί αντί για χαρτομάντηλο), θα μιλάει ακατάπαυστα και, επίσης παραδοσιακά, για τον εαυτό του. Τώρα παρακαλώ σκεφτείτε τη θέση της γυναίκας στην ελληνική κοινωνία διαχρονικά, την παθολογική αγάπη που θα ΄χει στη μάνα του, την “η γυναίκα πρέπει να τρώει και καμία ανάποδη” ιδεολογία του και πείτε του να σκάσει.

(Αισθάνομαι εκατοντάδες ασθενικά, αντρικά χέρια να με σηκώνουν ψηλά, δάκρυα μέσα από χοντρά γυαλιά να με λούζουν, δόντια με σιδεράκια να με τυλίγουν με φως, ένας χλωμός τυπάκος στο βάθος απαγγέλλει Rimbaud. Το όνειρο διακόπτεται ξαφνικά από μια εικόνα του Πάνου Κιάμου στη χέστρα. Ρε μαλάκες, σοβαρά τώρα. Χέζει ο Κιάμος;)

Irresistible @ Fleet cafe Holborn

Canon 1000D - 50mm f1.8

2013 και τούτο το φροντισμένο 10” επαναφέρει στο φως 50 χρόνια μετά μια σπουδαία διαπλοκή ποίησης και jazz. Ο μουσικός Louis Hjulman (vibes) και πέντε Δανοί ποιητές, οι Robert Corydon, Jorgen Sonne, Klaus Rifbjerg, Jørgen Gustava Brandt και Jørgen Leth, μαζί με τους Bent Axen (piano), Benny Nielsen (bass) και Alex Riel (drums), ενώθηκαν σε μοτίβα διαφορετικά για κάθε σύνθεση. Σε 11 κομμάτια έπλασαν τη δική τους προοπτική για τη μοντέρνα jazz και ποίηση, μέσα από παγκόσμια ερεθίσματα του αστικού κόσμου των sixties.

Ps. Σε 300 ltd κόπιες και βινύλιο 140γρ. από την ιταλική SeriE.WOC

dekutree:

his reaction

Theo Parrish is a top-tier DJ who switches between decades and styles with unmatched fluidity.It’s fascinating to hear him work here with a very specific and small set of albums — seven, to be exact, all of which were released during 1971-1973 on a small but substantial label run by pianist and producer Gene Russell.
Black Jazz Signature trails Gilles Peterson’s Black Jazz Radio and DJ Muro’s Diggin’ Black Jazz as a complement to Snow Dog’s thorough Black Jazz reissue series, but there’s only one selection here — Rudolph Johnson’s “The Highest Pleasure” — that appears on those previous mixes.
Parrish works with two turntables, as he typically does, and is relatively hands-off. He maintains…

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… continuity while shaving only a few seconds from each cut. The set plays out like a vigorous, uptempo Black Jazz super session. Four selections come from the two albums released by the Awakening, a group from Parrish’s hometown of Chicago. Three consecutive Awakening cuts act as a showcase for the versatility of unheralded pianist and leader Ken Chaney (known most for his playing on Young-Holt Unlimited’s “Soulful Strut,” he passed away in late 2012), who moves from funky and complex electric piano on “March On,” to darting beneath Frank Gordon and Richard Brown’s horns on “Convulsions,” to driving the speedy “Jupiter.” While Parrish just about eliminates himself from the equation, this mix will appeal the most to fans of his work who know the funk, disco, and house stuff well enough but haven’t traced back far enough to fully absorb an earlier, eternally vibrant form.

Disc 1
1. Doug Carn – Trance Dance [08:31]
2. Gene Russell – My Favorite Things [04:40]
3. He Awakening – March On [05:28]
4. The Awakening – Convulsions [05:26]
5. The Awakening – Jupiter [06:21]
6. Calvin Keys – Criss Cross [05:45]
7. Rudolph Johnson – The Highest Pleasure [07:37]
8. Walter Bishop Jr. – Those Who Chant [07:34]
9. The Awakening – Mirage [07:57]
10. Calvin Keys – B.E. [07:21]
11. Rudolph Johnson – Time and Space [07:24]
12. Walter Bishop Jr. – Blue Bossa [02:55]

Disc 2
1. Doug Carn – Trance Dance (Unmixed Version) [08:45]
2. Gene Russell – My Favorite Things (Unmixed Version) [04:51]
3. The Awakening – March On (Unmixed Version) [05:34]
4. The Awakening – Convulsions (Unmixed Version) [05:37]
5. The Awakening – Jupiter (Unmixed Version) [06:28]
6. Calvin Keys – Criss Cross (Unmixed Version) [05:57]
7. Rudolph Johnson – The Highest Pleasure (Unmixed Version)[07:45]
8. Walter Bishop Jr. – Those Who Chant (Unmixed Version) [07:47]
9. The Awakening – Mirage (Unmixed Version) [08:17]
10. Calvin Keys – B.E. (Unmixed Version) [07:31]
11. Rudolph Johnson – Time and Space (Unmixed Version) [07:24]
12. Walter Bishop Jr. – Blue Bossa (Unmixed Version) [03:13]

Theo Parrish takes the reigns for the latest edition of Snow Dog Records‘ Black Jazz Signature Series with a mix of gems released between 1971 and 1976. The mix accompanies a highly-anticipated compilation and features tracks from label founder Gene Russell, Walter Bishop Jr, Calvin Keys and The Awakening – an instrumental group from Chicago whose jazz-funk sound falls around the same period between the late 60s and early 70s that gave birth to Herbie Hancock‘s Fat Albert Rotunda and Catalyst‘s self-titled 1972 debut LP. Black Jazz Records remains an iconic label amongst devotees of forward music, free jazz and fusion. A Black Jazz recording is as much a timeless encapsulation of an era as it is a clinic in how to funk properly, as evinced by recordings from Cleveland Eaton, Doug Carn and Henry Franklin. That fact has earned the Oakland brand a home on the shelves of collectors across the globe. Theo Parrish delivers a mix of joints that provides a taste of the essentials; the tracks included do a lot to explain how the label’s releases would ultimately help to define an era in jazz and serve as the seed from which many afro-futurists continue to derive their sounds. The all-vinyl mix arrives alongside the official compilation from Parrish and Snow Dog Records, which arrives today via digital download, CD and double vinyl. Check The Awakening’s 1973 single “March On” below for a taste of what the project holds. Stream Theo Parrish’s Black Jazz Signature Series mix via Resident Advisor. Purchase the Black Jazz Signature compilation from Theo Parrish via Boomkat.

The post Theo Parrish Delivers The Black Jazz Signature Mix appeared first on Okayplayer.

Second Still is a three piece post-punk/coldwave band from Los Angeles, CA.
Combining the definitive sounds of French coldwave with the unconventional time signatures of No Wave, then layering that hybrid with hauntingly beautiful vocal melodies, Second Still crafts a sound soaked in nostalgia but also one that marches onwards towards the future. Infectious bass lines infiltrate your body and attack your senses. Guitar phrases glide in undulating melodic waves that peak into moments of formidable delay feedback. Heavyweight drum machine beats feel like punches to the gut. Combing the 80s underground for only the best of influences like Xmal Deutschland, Garlands-era Cocteau Twin, Asylum Party, and Opera De Nuit…

  79 MB  320 ** FLAC

…Second Still invokes the classic wave of La Vague Froide as their sound washes over you. Smooth running water slowly freezes as the sun’s reflection is blocked by a sound that is decidedly Second Still’s own unique imprint.
Originally formed in late 2014 in Brooklyn, NY, Second Still has been steadily gaining a devout following in the post-punk underground scene ever since. Ryan Walker (guitar) and Alex Hartman (bass) met in 2007 in Los Angeles, and by the time they moved to New York together in 2011, they had recorded a sizable collection of 100+ instrumental demos. After searching high and low for a vocalist that could match their intensity and creative output, they eventually met singer Suki San, and things clicked right away. The band’s first show was a party at the condemned Mckibbin lofts in Brooklyn that the cops shut down halfway through the second song. Early Forms, the bands four song debut EP, was released in March 2016 as a limited edition cassette. Recorded in a barn in upstate New York over three days, the cassette has long since sold out and is now a sought-after gem. Before re-locating to Los Angeles in November 2015, Second Still hunkered down in the studio and recorded their entire self-titled debut album in just two days.

01. Recover (4:41)
02. Try Not To Hide (3:43)
03. Sleep (4:50)
04. New Barn (3:48)
05. Strangers (4:24)
06. Jo (4:13)
07. You Two So Alike (2:10)
08. Judgment (4:42)

Charly’s 2013 collection fulfills an underappreciated hole in Bobby Womack‘s somewhat cluttered discography: it rounds up the A- & B-sides of every single Womack released between 1967 and 1976.
There have been many similar compilations that cover this territory, but most focus on his ’70s recordings for United Artists, which is under- standable, as that’s his best and most popular work, but this Charly double-disc set is distinguished by those late-’60s sides for Minit and Liberty. Some collections, such as Razor & Tie’s 1994 set Lookin’ for a Love, dipped a toe in this water, but this is the most thorough immersion into an underappreciated part of Womack’s career, when he was cranking out cool, grooving uptown soul with echoes of…

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…Chicago and Detroit. As he got closer to the end of the ’60s, funk and progressive psychedelic soul started to edge out this pop-soul — the grooves got deeper and funkier, plus he took a stab at more ambitious narratives and covers — and hearing this transition play out on Everything’s Gonna Be Alright is thrilling, as well as entertaining. Perhaps the packaging could be a little more handsome, but in sheer music terms, this is a necessary and long overdue addition to Womack’s discography.

Everything’s Gonna Be Alright: The American Singles 1967-1976 (Charly (U.K.), 2013)

Disc 1

1. Baby I Can’t Stand It
2. Trust Me
3. Somebody Special
4. Broadway Walk
5. What is This
6. What You Gonna Do (When Your Love is Gone)
7. Fly Me to the Moon (in Other Words)
8. Take Me
9. California Dreamin’
10. Baby! You Ought to Think It Over
11. I Left My Heart in San Francisco
12. Love, The Time is Now
13. It’s Gonna Rain
14. Thank You
15. How I Miss You Baby
16. Tried and Convicted
17. More Than I Can Stand
18. Arkansas State Prison
19. I’m Gonna Forget About You
20. Don’t Look Back
21. Something
22. Everybody’s Talkin’
23. The Preacher (Part 1)
24. The Preacher (Part 2)/More Than I Can Stand
25. Communication
26. Fire and Rain
27. That’s the Way I Feel About ‘Cha

Disc 2

1. Come L’Amore
2. Woman’s Gotta Have It
3. (If You Don’t Want My Love) Give It Back
4. Harry Hippie
5. Sweet Caroline (Good Times Never Seemed So Good)
6. Across 110th Street
7. Hang On in There
8. Nobody Wants You When You’re Down and Out
9. I’m Through Trying to Prove My Love to You
10. Lookin’ for a Love
11. Let It Hang Out
12. You’re Welcome, Stop On By
13. I Don’t Want to Be Hurt by Ya Love Again
14. I Don’t Know
15. Yes, Jesus Loves Me
16. Check It Out
17. Interlude No. 2
18. It’s All Over Now (Duet with Bill Withers)
19. Git It
20. Where There’s a Will, There’s a Way
21. Everything’s Gonna Be Alright
22. Daylight
23. Trust in Me

Disc 1, Tracks 1-2 released as Minit 32024, 1967
Disc 1, Tracks 3-4 released as Minit 32030, 1967
Disc 1, Tracks 5-6 released as Minit 32037, 1968
Disc 1, Tracks 7-8 released as Minit 32048, 1968
Disc 1, Tracks 9-10 released as Minit 32055, 1969
Disc 1, Tracks 11-12 released as Minit 32059, 1969
Disc 1, Tracks 13-14 released as Minit 32071, 1969
Disc 1, Tracks 15-16 released as Minit 32081, 1969
Disc 1, Tracks 17-18 released as Minit 32093, 1970
Disc 1, Tracks 19-20 released as Liberty 56186, 1970
Disc 1, Tracks 21-22 released as Liberty 56206, 1970
Disc 1, Tracks 23-24 released as United Artists 50773, 1970
Disc 1, Tracks 25-26 released as United Artists 50816, 1970
Disc 1, Track 27 and Disc 2, Track 1 released as United Artists 50847, 1971
Disc 2, Tracks 2-3 released as United Artists 50902, 1972
Disc 2, Tracks 4-5 released as United Artists 50946, 1972
Disc 2, Tracks 6-7 released as United Artists UA-XW196-W, 1973
Disc 2, Tracks 8-9 released as United Artists UA-XW255-W, 1973
Disc 2, Tracks 10-11 released as United Artists UA-XW375-W, 1974
Disc 2, Tracks 12-13 released as United Artists UA-XW439-W, 1974
Disc 2, Tracks 14-15 released as United Artists UA-XW561-X, 1974
Disc 2, Tracks 16-17 released as United Artists UA-XW621-X, 1975
Disc 2, Tracks 18-19 released as United Artists UA-XW674-Y, 1975
Disc 2, Tracks 20-21 released as United Artists UA-XW735-Y, 1975
Disc 2, Tracks 22-23 released as United Artists UA-XW763-Y, 1975

Κυκλοφόρησε τo 1976 στο Detroit των Η.Π.Α και μες στα χρόνια μπήκε κι αυτό με τη σειρά του στα κλασσικά private-press deep spiritual jazz lps. Τούτη η έκδοση της Soul Jazz Records/Universal Sound σε 1000 κόπιες και σε διπλό lp 45 στροφών μας υπενθυμίζει πιο καθαρά, από την έως τώρα πειρατική επανέκδοση, πως πλάι στους ήχους των Tribe και Strata East, μια one-off κολλεκτίβα με πάνω από 50 μουσικούς από την αυτοκινητούπολη και την Kim Weston της Motown, αποτέλεσε ένα σημαντικό δημιουργικό project. Πλάι σ’ όλα αυτά τα δισκογραφήματα όπου η αφροαμερικανική εμπειρία, έπειτα από τις κολτρεϊνικές διδαχές, ερευνούσε τις πνευματικές εκφάνσεις της jazz.