Archive for June, 2012

Genuine Latin Love Machine

Friday, June 29th, 2012

I haven’t posted an extremely stupid lounge/Moog album in a long time. Let’s fix that.

Richard Hayman – Genuine Electric Latin Love Machine
Richard Hayman is one of those people whose career is so long that it’s nearly impossible to summarize. As just about any page about him will tell you, he’s most known for being the arranger for the Boston Pop Orchestra, a position he held for over 30 years. According to his AllMusic bio, Hayman also served as a music director for a very eclectic assortment of celebrities, including Johnny Carson, Pat Boone and Olivia Newton-John. According to this photo of him, he enjoys large bowties.

He also apparently liked to make really silly early electronic music. In 1969 he released this goofy little record, no doubt an attempt to cash-in on the synthesizer craze that Wendy Carlos started with her legendary Switched-On Bach album a year earlier.

Did I mention this album is goofy and silly? Because holy shit it is.  As the title suggests, most of the songs are electronic re-imaginings of “Latin” songs like “The Peanut Vendor” and “La Comparsa.” But it also has a few mainstream pop songs thrown in for good measure, including “The Look Of Love?”  and “The Girl From Ipanema.” Don’t expect any covers of rock tunes though, I don’t think Hayman was hip to that sound.

It’s not as memorable as other early electronic albums, but its still worth a listen. And I think everyone in the world should take note of that amazing cover.

Beverly Hills Electro

Tuesday, June 26th, 2012

Hey, it’s music.

Grandmaster Melle Mel & The Furious Five
The Megamelle Mix
Pump Me Up (Instrumental)
Do people still do megamixes? I’ve always thought of them as Cliffnotes versions of albums, minus their use as a study aid (although I love to imagine someone listening to this megamix as a means to cram for a final exam on Golden Age hip-hop).

The Megamelle Mix includes snippets from “Step Off,” “The Message,” “Beat Street,” “New York, New York,” “World War III,” and “It’s Nasty (Genius Of Love).” I got it off of a 12″ single for “Pump Me Up,” hence the included instrumental of that track.

Det Reirruc/Club’s Rappers
Axel F (The Beverly Hills Version) (Club Mix)
Axel F (The Beverly Hills Version) (Radio Edit)
Like Eddie Did (Club Mix)
Like Eddie Did (Radio Edit)
All four of these tracks are from an incredibly odd bootleg 12″ single I picked up a few months ago.

The “Axel F” mixes are credited to one “Det Reirruc.” A quick search on Google, and I found out that this is actually Ted Currier (backwards pseudonym!), a producer and songwriter from the 80s whose work includes George Clinton’s immortal “Atomic Dog.” Because of this, Ted Currier should be treated as an American Hero. This track also features the legendary 80s remix crew The Latin Rascals, who are given an “edited by” credit on the label. If you like early 80s hip-hop and electro, this is one hell of a team-up, and worth a listen. The combined forces of Currier and The Latin Rascals transform what was already a pretty legendary piece of instrumental electronic music and make it a beat-heavy, breakdance-friendly banger. It’s pretty amazing stuff. The drum break at the end of the “Radio Edit” alone is awe-inspiring.

Also awe-inspiring, but for entirely different reasons, are the two versions of “Like Eddie Did” by the Club’s Rappers (whoever they are, anyone know?). This…rather interesting little number is a rap tune about the career of Eddie Murphy. That’s right, it’s a biographical rap song about the rise of Eddie Murphy, and how his story should be seen as inspirational to all the young people out there.

It’s a good thing they got this song out before the whole early-90s decline/family film rebirth/prostitute picking up/current day hackery arc of Murphy’s career.

Supertramp And The Teenage Mutant Ninja Turtles

Sunday, June 24th, 2012

I planned tonight’s post as such solely so I could use that headline.

Supertramp
I’m Beggin’ You (Straight Pass)
I’m Beggin’ You (Mad House Mix)
I’m Beggin’ You (Dub)
If you would have told me 10 years ago that I would be rocking out to subpar Supertramp remixes, I would have punched you in the face and called you a liar. Shit, if you would have told me that 10 months ago I still probably would have called you a liar (I wouldn’t have punched you in the face though, I’ve mellowed a bit in my 30s).

But why do I have a newfound appreciation for the group? A band that could be generously called a second-tier prog-rock group turned third-tier pop act? Is it because of my mellowing out? As I’ve gotten older, have I wussed out a bit? Trading in my Pantera and Slipknot albums for easy-listening radio-friendly pop favorites?

No, I’ve just become less of a judgmental asshole.

Honestly, my recent interest in Supertramp has more to do with random chance than anything else. Hearing “Crime Of The Century’ in a record store and being blown away, only to buy the album from which the song gets its name to discover six more tracks that are almost just as amazing (…and “Bloody Well Right,” a song I still can’t get behind). Crime Of The Century remains the only album by the group that I own, but I keep meaning to pick up more. I’m very curious about their first two, super-prog sounding albums, as well as the uber-popular Even In The Quiest Moments and  Breakfast In America.

“I’m Beggin’ You” is not from any of those records though, it’s from the group’s 1987 LP Free as a Bird. The first second record by the group to not feature founding member Roger Hodgson, it was a critical and commercial bomb that pretty much led to a 10 year hiatus for the group. This song isn’t horrible, I’ve certainly heard worse 80s pop tunes, but even I, with my limited knowledge of Supertramp, know that this doesn’t sound like a Supertramp tune at all.

It does have a “house mix” though, and that’s not something you can say for most singles from 70s prog rock groups. Unless somewhere there’s a 12″ house mix of “Mama” by Genesis that I don’t know about.

Oh god that would be so awesome.

Hi Tek 3
Spin That Wheel (Extended Flick Mix)
Spin That Wheel (Flick Mix)
Spin That Wheel (Dub Mix)
Spin That Wheel (Dub Edit)
That’s right, the house mix of a Supertramp song isn’t the dumbest thing in tonight’s post. I’m proud of that.

“Spin That Wheel” is a song from the soundtrack to the original Teenage Mutant Ninja Turtles movie. Hi Tek 3 are a side-project/alternate name of Technotronic, the Belgium dance act who brought the world “Pump Up The Jam.” Based on those two bits of information you probably already have an idea as to what this song sounds like, and you’re probably right. Enjoy.

A Couple Of Good Beats

Thursday, June 21st, 2012

This post is going up on around 9:30PM, July 21st, 2012.

I wanted to get in one more blog post before the world is forever made a darker place by Miami Heat winning a fucking NBA Championship. Fuckin’ Miami. I wish I had a rare version that that Against Me! song so I could just post that.

The Twins Plus Him
Turn The Beat Around
Turn The Beat Around (Dub Version)
Turn The Beat Around (Short Version) 
I love/hate it when I find a track by a mysteriously-named artist who released no other work. I love it because I feel like I stumbled across some hidden gem/unknown great who no one knows about. I hate it because they’re typically so mysterious that I can rarely find anything else out about them aside from the one song. So, anyone know anything about The Twins Plus Him? Who are The Twins? Who is Him? I suspect the Him in question may be Richard Alexander, a disco-era producer who produced this take on the song that Vickie Sue Robinson made famous in the 70s. However, the identity of the lead singer(s?) is a complete mystery to me. They’re not credited at all on the label. If anyone could shed some light on this one I would appreciate it.

Pumpkin
King Of The Beat
King Of The Beat (Instrumental)
Pumpkin was the alias of Errol Eduardo Bedward, a drummer who worked on a lot of late 70s/early 80s disco and electro tracks. I don’t know much of his work outside of this track, and that’s a shame because hot diggity damn this is some great old-school electro shit. It’s simple, effective, and (not surprisingly) has a great beat. If I could breakdance I would totally breakdance to this tune. I’d try, but with my luck I’d have a muscle spasm while trying to do the worm. Then my spasming leg would then probably kick my aquarium stand, which would in turn knock over the aquarium onto my head, killing me instantly.

Or maybe I would just wind up looking like an ass, either way, I’m not taking that chance.

Havana 3 A.M. and a song way too good for cassette tape.

Wednesday, June 20th, 2012

Just a single song tonight. But it’s really good!

Havana 3 A.M.
Blue Gene Vincent (Live)
A few weeks ago I picked this up at a yard sale.

Take A Spin With I.R.S., a 1992 promo tape made by I.R.S. Records to showcase some of their best and brightest acts. When I grabbed the tape, the only artists on I recognized on it were Concrete Blonde and MC 900 Ft. Jesus. After listening to it, none of the other artists on the tape (which included acts such as Dada, Vinx and Rebel Pebbles), really left an impression on me.

That is, none of the acts except Havana 3 A.M. They close out the tape with a live version of “Blue Gene Vincent,” a track off of their 1991 self-titled debut. It’s an amazing tune, full of energy and a slight rockabilly edge that was reminiscent of some of The Clash’s best work.

Turns out that’s no coincidence. Havana 3 A.M. was a band launched by Clash bassist Paul Simonon after the band broke up in the 80s. Their 1991 record proved to be their only official release, as lead singer Nigel Dixon died just two years later, followed by Simonon quitting the music business altogether. I guess the guitarist went on with the name for a bit, but I think the album he released under the name is more of a solo record.

It was the only song on the tape that I loved, so of course that was the only part of the tape that was damaged and distorted, rendering the end of the song unlistenable. I picked up a copy of their CD, but the studio version of the song just pales in comparison. I needed the live version.

Most people would just give up at this point, but not me. I’m crazy. I’m an idiot. I’m the kind of moron who will pluck down 13 bucks to an online used tape dealer to buy a tape that I already own just in the off chance that it might sound better than the version I already own.

Sigh, I either need a cheaper hobby or I need to get back on Prozac.

Anyways, thankfully my moderate insanity paid off. The second copy of the tape sounded much better (it’s still kind of muddy sounding, but hey, it’s a 20 year old tape), allowing me to finally record a complete version of the tune that I can share with you all tonight.

If you at all love The Clash (and you fucking should) then you need to check out this tune. I can see why the studio version failed to catch on back in the day, it’s a bit too overproduced and was already dated by the time it came out. There’s something funky with the drums, it lacks edge and bite. But this version just kicks ass. It has a rockabilly feel to it, but it’s totally a punk rock song at heart.

It’s the kind of song that I bet Joe Strummer would have dug the shit out of. I hope you do.

What a Motherfucking Feeling

Tuesday, June 19th, 2012

Tonight’s songs are defiant pleasures.

That’s right, DEFIANT pleasures. Not guilty pleasures. I hate that term. To paraphrase Chuck Klosterman, a song cannot be a guilty pleasure. It doesn’t actually cause you any harm. Now, cocaine, that’s a guilty pleasure.

Defiant pleasures. You like them in spite of what everyone else may think of them, or what they may think of you for liking them. Stand tall in your adoration for upbeat pop songs you can dance to. Upbeat pop songs you can dance to make the world go ’round. Download these songs, put them in your iPod and rock out to them loudly. Then, when some hipster wanker gives you shit for them. Jump up and just dance in their face until they scoff and walk away.

And when their back is turned, that’s when you kick them in the head.

Y’know, out of defiance.

Irene Cara
Flashdance (What A Feeling) (Remix)
I first found out about this extended version of the theme to Flashdance about three years ago, and have been desperately seeking out the tune ever since. Thank you Vinylpalooza! I got this gem for just a buck, and I would have easily paid 10x that for the privilege of hearing this amazing seven-minute version of one of my favorite tracks of the early 80s. If you hate this song that doesn’t mean you’re a bad person, but you are just a little bit dead inside. I hope you know that.

 

Kylie Minogue
The Loco-Motion (The Kohaku Mix)
The Loco-Motion (Sankie Mix)
My knowledge of Kylie Minogue’s singing career is spotty at best. I know this song, then there’s about a 12 year gap, and then everything from “Love At First Sight” on. I guess you could call that an American view of the singer, since she was pretty much a nobody here during the entirety of the 90s. What stuff from the 90s is her best? I’ve heard mixed things about Impossible Princess. Does it hold up still?

You know what still does hold up? This great cover of The Loco-Motion (that’s how it’s spelled on the sleeve). I need more mixes of this one. I might have to start buying some of Kylie’s many remix collections. If for no other reason than to support that trend. More artists need to compile and release their mixes. I think one of these might be commercially available in the states, but whatever. Do the locomotion.

Every Band Has A Shonen Knife Who Loves Them

Thursday, June 14th, 2012

If you put a gun to my head and made me pick a favorite, all-female Japanese rock band, I’d probably have to choose Cibo Mato. Also, I’d probably tell you that you’re really violent about demanding declarative decisions in regards to my personal preferences of which international rock bands I enjoy the most.

That being said, I really like and respect Shonen Knife, even if I don’t know that much about the group. I recall them kind of being a minor thing in the states during the mid-90s. Kurt Cobain said he liked them, an endorsement of so much clout  for the time that pretty much guaranteed any act who got it  at least an early afternoon slot at Lollapalooza.

But Shonen Knife had developed a pretty rabid following in the states even before Kurt was talking about them in the press. By 1989 the group was popular enough for inide label Giant Records to compile Every Band Has A Shonen Knife Who Loves Them, a collection featuring American bands covering their favorite songs by the Japanese rockers.

Even as someone who doesn’t know a lot about Shonen Knife, I think this album pretty much kicks all kinds of ass. Just look at some of the acts who grace this record: Sonic Youth, Reverb Motherfuckers, The Mr. T Experience, Babes In Toyland, L7, Red Kross! It’s like a who’s-who of noise, indie and riot-grrl.

At times though the album is less of a “who’s who” and more of a “who’s that?” Sadly, many bands on this compilation went nowhere, some aren’t even credited on Discogs for any release aside from this record. And there are four bands on the album (Project Jenny & Teen Steem, Ella Ohne Die Schwarzen, Dem Choclodytes and The Maynards) whose only appearance on any release ever is on the 2LP edition of the album, their songs aren’t on the single LP version or even the CD edition of the record. How’s that for your obscure randomness?

Even more obscure than those songs though is the cover of “Cycling is Fun” by Pandoras. It’s on the tracklisting for the 2LP edition but it’s actually nowhere to be found on the record itself. It only exists as a concept! Now that’s some underground shit.

I’m only offering this is as a complete album download, because I really don’t want to set up 32 separate download links. Nor do I want to comment on each song/band individually, as I hardly know any of the bands on this record and I really don’t feel like researching 20+ bands. Sorry! If you have any interesting tidbits to share about some of the more obscure acts on this album, please feel free to share them in the comments though.

In case you’re wondering, here is the complete tracklisting:

Record One
1. Kappa Ex – Redd Kross
2. Summertime Boogie – The Freaks
3. Insect Collector – The Three O’Clock*
4. Public Baths – Frightwig
5. Dali’s Sunflower – Government Issue
6. Baggs – L7
7. Froot Loop Dreams – White Flag
8. Twist Barbie – The Pussywillows*
9. Making Plans For Bison – Big Dipper
10. Ice Cream City – Christmas
11. Lazy Bones – Pat Ruthensmear (AKA Pat Smear)
12. Elmer Elevator – Krave
13. Devil House – Chemical People
14. Burning Farm – Sonic Youth

Record Two
1. Antonio Baka Guy – Lunachicks
2. Flying Jelly Attack – The Mr. T Experience*
3. Miracle Woman – Project Jenny & Teen Steem*
4. Parrot Polynesia – Ultra Violet Eye*
5. Angel Has Come – Angels Of Epistemology*
6. Parallel Woman – Masters Of The Obvious*
7. Blue Oyster Cult – Ella Without The Blacks*
8. Tortise Brand Pot Scrubbing Cleaner’s Theme-Bye Bye – Disco Dave Landry
9. Elephant Pao Pao – Reverb Motherfuckers
10. Redd Kross – Death Of Samantha
11. Watching Girl – Babes In Toyland*
12. Riding On The Rocket – Das Damen
13. I Like Choco Bars – Dem Choclodytes*
14. Animal Song – The Maynards*
15. Ah Singapore – Wendy Horowitz
16. One Day At The Factory Preface – Phil Blumel
17. One Day At The Factory – Pippi Eats Cherries*
18. Cannibal Papaya – Smokin’ Gas Truck*

* 2LP Edition Exclusive Tracks

Oh, and the records are pink and white.


Have a good weekend, and if you live near Pittsburgh, don’t forget to check out Vinylpalooza! Click here for details.

Feminism, Record Sales and Janet Jackson

Wednesday, June 13th, 2012

A few quick things that have nothing to do with much of anything.

First, if you at all follow video game news then you probably know that Anita Sarkeesian (the woman behind the amazing website Feminist Frequency) recently launched a Kickstarter to help fund her project about the portrayal of women in video games. You also probably know that her announcement of said project set forth a tidal wave of misogyny, threats and hatred toward her. Want to piss of a misogynist? Donate to her Kickstarter and fight the good fight. By the way, if you have anything negative to say about her, that project or feminism in general, please take your stupid little thoughts elsewhere, like off a cliff.

Okay, on to happier news! This weekend (June 15th, 16th and 17th) Jerry’s Records is putting together a massive vinyl convention dubbed Vinylpalooza. Detailed information about the event can be found here. If you are at all anywhere near the Pittsburgh area, I suggest you check it out. It should be awesome.

Finally, if you are one of the eight people who visited my other blog, Random Record Reviews, I have bad news for you. I deleted it. I think my goal of reviewing a randomly chosen album every week was crazy, and I just didn’t have the drive to keep it going. However, I can promise you that you have not seen the last of that feature, I plan on taking it elsewhere. I have some big plans coming this year, and if it all pans out right then you will all hopefully be seeing a lot more writing from me.

I really hope it all works out right. Until then, let’s listen to some Janet Jackson. Yeah, another Janet Jackson post. Don’t like it? Well, what have you done for me lately?

Ooh ooh ooh yeah.

Janet Jackson
Control (Extended Version)
Control (Dub Version)
Control (Acappella)
Nasty (Cool Summer Mix Part I)
Nasty (Cool Summer Mix Part II)
The Pleasure Principle (Long Vocal)
The Pleasure Principle (Acappella)
The Pleasure Principle (12″ Dub)
The Pleasure Principle (The Shep Pettibone Mix)
I think I posted most of these before, although I can’t be sure. Some of my oldest posts are MIA, lost during my migration from Blogger to my own site. However, even if I did share these songs before, these are brand spankin’ new rips, and sound way better than my old ones. So you should download them regardless. I should have a post of all-new music (well, newly posted here) either tomorrow or early next week.

 

Jesus And Tori Amos walk into a dance club…

Tuesday, June 12th, 2012

’90s Music y’all.

MC 900 Ft. Jesus
Regression Session
MC 900 Ft. Jesus is pretty much known for only two things. One is the video for his 1994 semi-hit “If I Only Had A Brain,” which was directed by Spike Jones. The other is that his name is MC 900 Ft. Jesus. I sure as heck don’t know much else about the dude. So anything I’d say here would just be a retread of his wiki. So go read that if you want to know more about him.

As far as this song, it’s the b-side to “If I Only Had A Brain,” and sounds absolutely nothing like it. It’s not a rap jam, it’s not a dance tune, it’s literally what the title says it is; a regression therapy session (with a free jazz musical backdrop). Those who are easily open to suggestion may not want to listen to the tune whilst driving, lest they regress to toddlerdom.

Tori Amos
In The Springtime Of His Voodoo (Hasbrouck Heights Club Mix)
In The Springtime Of His Voodoo (Quiet Mix)
In The Springtime Of His Voodoo (Sugar Dub)
In The Springtime Of His Voodoo (Hasbrouck Heights Single Mix)
I really wish someone in Tori Amos’ camp would put together a remix collection featuring just some of the amazing mixes from her singles of the 90s and early 2000s. A lot of her best tracks from the era were remixed amazingly into surprisingly great dance tracks. I particularly remember that the remixes to “Raspberry Swirl” were great, and I also enjoyed the mixes of “Jackie’s Strength” and “Professional Widow.” Why can’t Tori fans (if any remain) buy them? The Tori fans of the 90s were pretty hardcore and needed to get everything. I’m sure that Tori released a box set, or even just a digital-only collection, of these mixes, it would sell to that crowd still.

But hey, until then enjoy the downloads.

Amon Tobin Box Set: Unscrewed

Sunday, June 10th, 2012

So I got this in the mail last week.

 

For those who may not recognize it, this is the new Amon Tobin box set from Ninja Tune. Amon Tobin is an electronic musician from Brazil, whose body of work is an impressive collection that touches upon a variety of genres, including IDM, drum and bass, hip-hop and even ambient. He’s diverse.

He’s also apparently incredibly productive. This box set, which is comprised almost entirely of unreleased material, features seven CDs, 2 DVDs, and 6 10″ LPs of content. In addition to that, the download code for the LPs also includes several bonus tracks and remixes that they couldn’t squeeze into the box. Not including the DVDs, that’s 160 tracks of music, 10 hours of stuff. And at $120 bucks, that’s one hell of a deal.

But I don’t really want to talk about the music (it’s all pretty great) what I want to show-off here is the box set itself, because it’s nuts. In case you couldn’t tell from that first pic, the entire thing is set up like some sort of industrial press (why Trent Reznor didn’t think of this first is beyond me).  So, instead of simply opening the box set like any other super deluxe edition, you have to unscrew it.

Sure, it may not be practical or make sense, but it looks dope.

 

As you can tell from that pic, thankfully the box set has butterfly washers, so you don’t need any special wrench or screwdriver to pry it open (although how awesome would that have been!) The screws don’t need to held in that tight, so the washers come off with minimal effort.

 

How much would is suck to lose one of these?

 

The presentation remains pretty stellar even after the screws are removed and the box opened. Lying right on top is a folded poster. Which is cool, but not the best, the major creases really take away from it as a piece.

 

Not really framing material.

 

It picks up though. From there we get to the real meat of the content, the seven CDs and two DVDs. They’re presented on three carboard platters, which are way more sturdy than they look.

Do your best to ignore the reflection of the Foo Fighters poster.

 

On the back of each platter/base/whatever are tracklistings for each disc.

 

Simple and minimalist, like everything else in the box.

 

The packaging for the LPs is similar, the only difference is that the sleeves are black.

 

The records themselves are typical, 10" records. No need to focus on them.

 

At the very bottom of the box are four more pieces of art, all of which are way more interesting than the larger, folded poster that is at the top of the set.

 

The vague sci-fi motifs are common in most of Amon Tobin's work.

In all my years of record collecting, I’ve never seen a package as unique and interesting as this one. I think there are a few left on Ninja Tune’s site, so if you got the bucks, I recommend picking it up.