Archive for the ‘remixes’ Category

Pop Floyd and Garage Rock Disco Covers

Saturday, February 27th, 2016

The 10th anniversary of Lost Turntable is about a week away, and I do have something special planned. Not only that, but in a rare example of me planning out this blog in advance, most of it is already written and ready to go. I’m trying to go for something that focuses a lot on what I feel makes this blog great (in my humble opinion) and will really run the gamut in terms of content and tone. I think there will be something for everyone. I hope you all enjoy it, because I’ve really put a lot of time into it.

David Gilmour
Blue Light (Vocal Remix)
Blue Light (Instrumental Remix)
Is there a name for the genre of music that most 70s rock stars saw themselves falling into during the early 80s? You know what I’m talking about. Steve Winwood, Phil Collins, Pete Townshend, Robert Plant, just to name a few, at the dawn of the Reagan-era they all stripped away damn near everything that made each of them unique and all drifted towards the same incredibly generic, synthesizer-based dance/pop/rock sound. Nebulous-yet-catchy, and utterly dated not five years after the fact. Does anyone still listen to Robert Plant’s “Tall Cool One” in 2016?

That song is better than this track, however, a failed single off of Gilmour’s 1984 album About Face, which was not a good record in 1984; not a good record when I discovered it in the late-90s, and remains not a good record to this day. This is probably one of the better songs off of it, and I can say that it at least works moderately well as an upbeat rock track. Gilmour’s vocals are decent, and he manages to work in his trademark echoey guitar effects into what would be a rather bland pop track otherwise. It’s still strange to hear Gilmour perform music like this though. His more recent solo efforts, while also far from perfect, are much improved, and I think play more to his strengths, those being spacey guitar solos and much looser song structures.

While I’m not a fan of Gilmour’s solo work, I would still say that his solo output is better than his bandmate Roger Waters’, which has served to prove that Waters is a lyricist first, bass player second, and a musician eighth (positions three through seven are “professional asshole” if anyone was wondering). Gilmour’s solo records are boring, but at least the guitar solos are good. Waters couldn’t catch a melody if his life depended on it. He is tone deaf after all.

If you’re interested in checking out good 80s Gilmour that doesn’t involve Pink Floyd, I strongly recommend you give a listen to Berlin’s “Pink And Velvet,” a lost masterpiece that probably features Gilmour’s second-best guitar solo behind the one for “Comfortably Numb.” A jaw-droppingly stunning lost classic.

Thelma Houston
96 Tears (12″ Remix)
File under “Covers I Never Thought I’d Hear,” right next to KMFDM’s take on “These Boots Are Made For Walking” and Eagles Of Death Metal’s “Save A Prayer.”

The album version of this cover can be found on Thelma’s 1981 album Never Gonna Be Another One, however, this epic seven and a half minute version is 12″ exclusive and out-of-print entirely. It’s not as epic as I hoped it would be, but I’m still enjoying it.

I’m Still An Alligator

Sunday, January 24th, 2016

Turns out I have a lot of David Bowie on my hard drive(s) and digging it all out/organizing it is proving to be a task better suited for some sort of digital archaeologist. Just counting songs that are properly tagged as David Bowie/Tine Machine I have about 1,300 tracks in my iTunes library. I know I have more buried somewhere though. And I’m fairly certain that I have some singles back in the states that I never got around the properly recording. That’s a real shame because there are a few gems there, including a weird 10+ minute remix of “Fame ’90.”

I continue to be amazed at how much David Bowie is in print now. If you want the 12″ remix of “Magic Dance” then you can go on Amazon and fucking buy it right now. AND YOU SHOULD BECAUSE IT’S AWESOME. You can even go online and get remixes to “Loving The Alien” if you so desired.

So basically I’m repeating what I said in my previous all Bowie post, if you like David Bowie’s music then you should really be buying his music.

Of course, this blog exists because that’s not always possible. So here’s some shit that’s worthwhile yet unavailable.

David Bowie
Fun (Dillinja Mix)
Dead Man Walking (This One’s Not Dead Yet Mix)
Under Pressure (Live)
Moonage Daydream (Live)
Some real oddities tonight.

First up is a remix of “Fun,” which is doubly weird because the non-remixed version of “Fun” was never commercially released as far as I can tell. I have no idea when it was recorded, the story behind it, or if any other remixes were ever made available in any way shape or form. I got this remix off of the exclusive Live And Well 2CD compilation. Most of the remixes from that set were made available when Bowie’s mid/90s output was re-released in 2CD sets, but it didn’t make the cut.

After that we have a unique remix of “Dead Man Walking” which I found off of a CD single to the song. Another mix that didn’t make the cut when Bowie’s 90s records were re-released. A real shame too because it’s one of the better ones. While most of the song’s remixes play the dance angle and crank it up to be a club banger, this one puts Bowie on the forefront and tones it down a bit, all while keeping its beat. It’s a cool take on a great track.

Finally, there are two live tracks, both taken from the CD-single to “Hallo Spaceboy.” The live version of “Under Pressure” is relatively faithful to the original save for the fact that the vocals are shared by Bowie’s amazing bass player Gail Ann Dorsey.  However, the live rendition of “Moonage Daydream” is an interesting departure from the original, stripping away a lot of what made it a glam rock tune and replacing it with some industrial/90s’-rock overtones. Bowie would do this a lot when he toured in the 90s, sometimes to more drastic degrees than others. The changes he made to this track are tame compared to how he totally re-worked “Andy Warhol” into batshit crazy drum and bass track during his “Outside” tour.

By the way, does anyone have high-quality MP3s of this 90s tours that they’d feel like sharing?

Boom Boom Boom Boom Boom…..Boom

Sunday, January 17th, 2016

Oi what a shitball week last week was.

Still not entirely over Bowie’s passing. A few days ago my boyfriend came over and we watched highlights from the Best of Bowie DVD set. I was doing okay until I played “Life On Mars” and, just like I thought I would, I lost it for a bit. Never actually got emotional over a celebrity’s death before. It felt weird. I’m glad I never besmirched anyone for mourning the loss of a celebrity before. At least, I don’t think I ever did. Shit, I used to be right prick, so I won’t rule it out.

I’ll probably post some more Bowie this week or the next. But I’ve been pretty much drowning myself in Bowie since his passing, so I thought I’d mix things up tonight.

Boom Boom Satellites
Dub Me Crazy (Ver.02)
Bike Ride To The Moon
Low Blow (Instrumental)
Here you go, obscure remixes of songs you don’t know by a Japanese band you’ve never heard of. And I wonder why more people don’t read this blog anymore.

One thing about Bowie’s passing that struck me was how in line I was with the feelings of those I knew. We were all fucked up by the news. I feel that rarely happens this day and age. I almost never feel like I’m connecting on a pop culture level with the masses, let alone anyone I know. And I’m not saying that as a “boy people sure do like dumb shit these days” kind of thing (although sometimes I do feel that way), I’m more saying it in regards to the fact that media is more fragmented than ever before. In addition, my tastes these days tend to skew to hyper-obscure shit that doesn’t even score me cool kid hipster points.

Well, if anyone out there does dig on Boom Boom Satellites, I hope they enjoy these remixes. BBM is easily one of my top five favorite groups who are currently making music. Their insane blend of hyperactive rock music, pulse-pounding electronica, and the occasional foray into acid jazz (not that often, just enough to make it interesting) is still unlike anything I’ve heard in recent memory. If you enjoy these tunes, check out To The Loveless or On. Both are wonderful records.

Living On Video (’85 Big Mix)
Living On Video (Dub Mix)
There are approximately 8,504,321,459 remixes of this song, give or take a million. So I may have posted these before. Or they may be available legally under different names. It’s so hard to tell with b-grade dance acts like this, who seem to lease, sell or rent their back catalog to the highest bidder on a moment’s notice.

I first posted a remix to this track nine years ago. Which is another reminder to you all that I’ve been doing this blog for 10 years come this March. I’d like to do something to celebrate. Haven’t figured out what that might be though. So if anyone out there wants to drop a suggestion it would be appreciated. Be reminded that while I would enjoy reposting some old material, some of it is lost and/or of such bad quality that doing so might be impossible.

I also plan on purging my sidebar of dead links soon. So that’s something.

If I listened to Life On Mars right now I’d probably cry

Monday, January 11th, 2016

I share rare and out-of-print songs. So it’s what I’m going to do tonight. I don’t know what else to do. I’m not going to eulogize David Bowie. Others, those who knew him, will do a better job at at that. Writing about his music, and sharing the tunes that people can’t easily get, is my own way of dealing with his death.

David Bowie’s discography was massive, and throughout the years many of his recordings fell through the cracks. In fact, my very first post on Lost Turntable was one such song, his theme to the largely forgotten animated nuclear war drama When The Wind Blows. Thankfully, that song is in print now, as are the remixes for it. You can buy them all on Amazon and I suggest you do. It’s a tremendous track.

In fact, in recent years many of Bowie’s rarer tracks have been re-issued in one way or another. His “greatest hits” compilation from last year featured rare and hard-to-find mixes of even his most popular tunes,  and even Sound + Vision was recently re-released, meaning you can find rarities such as the awesome U.S. single mix of “Rebel Rebel,” the radio edit of “Nite Flights” and the saxophone version of “John, I’m Only Dancing.” Bowie completists would do well to check them out. I also recommend picking up the David Bowie box set from 2007, which collects his albums from Outside to Reality, most of which were excellent (I still dig Earthling a lot).

So much work has been done to restore Bowie’s discography that there isn’t much for me to share here tonight. And make no mistake, that’s a good thing. David Bowie was a genius, and you should buy his music.

These are the only tracks I have that are out of print, not crummy sounding bootlegs, and worth sharing. I don’t feel that sharing a track like “Too Dizzy” a song that was so bad it was deleted from later pressings of Never Let Me Down (Bowie’s worst outing by many accounts, including his) would be a proper tribute to the man. I want to celebrate his legacy by showcasing the songs you might not know about, not dredge up stuff best left forgotten.

That being said, let’s start with a Tin Machine song.

Baby Universal
Baby Universal (7″ Remix)
Baby Universal (Extended Version)
I briefly mentioned Never Let Me Down a bit ago. Make no mistake, that is an incredibly bad record. Critics thought so, his fans though so, and in the years after its release Bowie thought so as well. Bowie took such a drubbing from the album’s release that he retreated from releasing albums as Bowie altogether, and instead formed a band called Tin Machine. They released two records, and although neither were particularly well-received by the public, perception on the Tin Machine material has improved over the years. I wholeheartedly recommend the band’s self-titled debut, and I even have fondness for their follow-up, Tin Machine II. It’s a bit uneven, but it does have the best song that Tin Machine released, the fast-paced punk/art-rock/dance hybrid Baby Universal, which I’m presenting here in all its forms. Be sure to listen to the lyrics, which include the classic Bowie line “Hello humans can you feel me thinking.”

Jump The Say (Rock Mix)
Tin Machine wasn’t that much of a critical or popular success, but it sure as hell served to revitalize Bowie creatively. After the group disbanded he went back to being a solo artist and went on a hell of a creative tear through the 90s, starting with Black Tie White Noise. A fantastic if somewhat dated record, much of the album dealt with Bowie’s then-recent marriage to Iman, but not this track. It was inspired largely by Bowie’s half-brother Terry, who lost his battle with mental illness and took his own life some years before.

Lyrically, its one of my favorite tracks on the record, but I always felt the funky production kind of beguiled the song’s dark message and somewhat angry tone, which is why I much prefer this rock remix. It’s still an early-90s dance-rock tune, so it’s pumped-up and overproduced, but the funky wah-wah guitars and more manic elements are removed and replaced with some hard guitar riffs. It gives it just enough edge for the lyrics to resonate a little more, just a bit more bite.

This remix first appeared on a few different singles. I got it from the two-disc edition of Black Tie White Noise. While that version of the album is out of print (for now) the single-disc release is easily available. It is very much an album of its time, for good and bad, but it has an upbeat vibe that’s hard to dislike. If you like this tune, check it out.

Cat People [Putting Out Fire] (Australian Promo Extended Version)
If I had to make a list of my top ten favorite David Bowie songs, I’d go insane – but I think this song would probably make the cut. A collaboration between Bowie and Giorgio Moroder (holy shit!) for an exceptionally bad movie, many consider it to be his creative swan song for the 80s. I wouldn’t go that far, I actually like a lot of Bowie’s 80s output, but this track is a motherfucking masterpiece, largely due to Bowie’s freakishly powerful vocals. He’s downright operatic here, with a bellow that rivals what he delivered on “Heroes.”

If this track sounds familiar to you, that’s probably because it was featured prominently in Tarantino’s Inglorious Basterds. The version featured in the movie is the one from the soundtrack to Cat People. You can find that on the Sound + Vision box set. It is distinctively different than the version on Let’s Dance, which is also good but far too over-produced (this was a common problem with music from the era, not just Bowie). The version I’m sharing tonight was only included on the original Australian 12″ single, and most likely by mistake. It’s over nine minutes long and features a fucking rad as hell sax solo.

Disclaimer: This is not my rip, I found it on another (defunct) MP3 blog.

Scary Monsters (And Super Creeps) (With Nine Inch Nails)
Okay, one bootleg.

This might be my favorite Bowie song. And this version with Nine Inch Nails (from the Outside tour) is just a (scary) monster. A powerful and intense burst of glorious thunder. This is how I choose to remember David Bowie.

As a motherfucking rock star.


Happy New Year with Madonna and White Zombie

Sunday, January 3rd, 2016

I hope everyone had a wonderful holiday season. I hope no one’s cell phone was stolen in a hipster coffee house. I hope no one’s laptop was smashed by a wheelchair. Those would not be fun things to happen during one’s holiday break. Trust me.

Moving onto more upbeat news, this year will mark the 10th anniversary of Lost Turntable. This fact BLOWS MY FUCKING MIND.

I want to plan something special for the anniversary month, which is this March. Although I really haven’t figured out what that would be. So if anyone has any suggestions, please let me know.

This has to be one of the longest running MP3 blogs at this point, right? I mean, who the fuck is left? Every blog that inspired me to create this blog is either completely offline at this point or hasn’t been updated in years. Quitters.

White Zombie
Thunder Kiss ’65 (Finger On The Trigger Remix)
Thunder Kiss ’65 (The Remix That Wouldn’t Die Remix)
Thunder Kiss ’65 (The Diabolical Ramrodder Remix)
Thunder Kiss ’65 (Swinging Lovers Remix)
White Zombie reminds me of Ridge Racer.

Okay, so here’s the thing.

When the Playstation came out there weren’t that many good games for it. One of the best was the original Ridge Racer. Now, I don’t know if this was an advertised feature of the game or something I just read in a magazine, but since the game loaded entirely to the system’s RAM, once it booted up you could take out the PS1 game disc and put in any old CD you wanted, which would then serve as the game’s soundtrack. For some reason, my go to CD was Astro-Creep: 2000.

I have incredibly vivid memories of racing along to “Electric Head” and using the track as an audio checkpoint – if I could get to one corner of the track before the chorus kicked in, I knew I was doing good. Why the fuck this memory sticks in my head and not, y’know, my boyfriend’s birthday, I have no idea.

Anyways, these remixes are by KMFDM and they hella sound like remixes of White Zombie songs by KMFDM. So your enjoyment of them will probably depend on how appealing that sounds to you. They just make me want to play Ridge Racer.


GHV2 (Tracy Young’s Shake & Stir Club Mix)
Madonna does not make me think of any video game in particular save for this obscure Japanese arcade game that features a brief chiptune cover of “Like A Virgin.” I guess I could also associate her with the Turbografx-16 game Vigilante, as the protagonist’s kidnapped girlfriend’s name is Madonna for some reason. I doubt she endorsed that cameo.

This track is a megamix of tracks taken from her 2001 greatest hits album GHV2. There were several versions of this mix released, albeit none commercially – all were promo and DJ releases only. This one is one of the rarest, and is only on a handful of 12″ promo singles and CDrs. If I ever get around to finishing that mega Madonna singles guide, I’ll be sure to go into more detail there.

Have a Madonna Christmas

Monday, December 21st, 2015

I’m in America! Oregon to be exact. So if you see a giant man in a Run DMC shirt buying records in Portland this Tuesday, say yo.

Sorry if tonight’s post is poorly written and/or stupid. I’m suffering from severe jet lag and slightly drunk.

Ray Of Light (Sasha Strip Down Mix)
Ray Of Light (Sasha Twilo Mix)
Ray Of Light (Sasha Ultra Violet Mix)
Ray Of Light (Victor Calderone Club Mix)
Ray Of Light (Victor Calderone Drum Mix)
Ray Of Light (William Orbit Liquid Mix)
Ray Of Light (William Orbit Ultra Violet Mix)
This is easily one of my favorite Madonna singles, probably in my top ten between “Music” and “Don’t Tell Me.” It’s a wonderful song, and one of the most perfect dance tracks ever constructed.

That being said, let’s talk about the lyrics for a minute.

Zephyr in the sky at night I wonder
Do my tears of mourning sink beneath the sun
She’s got herself a universe gone quickly
For the call of thunder threatens everyone

“Zephyr in the sky” is one of the strangest opening lines to any pop song outside of the 1960s psychedelic rock boom. The literal definition of “zephyr” in case you were wondering, is “a light wind.” So the opening line of the song is her pretty much saying “Hey wind, I have a question.” Or maybe she’s talking to a train. Who knows. I’m not even going to begin to attempt parsing the other lines of the chorus. I’m sure they’re not nonsense, but they definitely come off as such. I bet it’s deep and probably has to do with whatever religion Madonna was into that week, so I don’t want to knock them too much.

But that chorus.

“And I feel like I just got home.”

What does that even mean? Okay. Seriously. Let me think about how I feel when I walk in the door. These are the thoughts going through my head.

  • Ugh, I gotta take this tie off.
  • Oh my god I have to pee so bad.
  • I wonder if I got any mail.
  • When’s my boyfriend coming over?
  • Oh well, might as well play some Rock Band for a bit. Or maybe Pac-Man.
  • I want pizza.

Maybe the line means something like “I’m relieved” or “I’m at peace?” “I’m in a safe space?” Or maybe it’s like, she just got home after a long journey. But wouldn’t “I feel like I’m finally home” work better for that feeling?

It doesn’t really matter, of course. This is a rave track, and a late-90s one at that. And if “Blue” taught us anything, it’s that 90s dance music didn’t have to have any deep meaning behind it. In fact, it was probably better when it didn’t.

And these remixes are dope. I hope you all enjoy them and if I don’t get another post up before, I wish you all a merry Christmas.

Sighing to Prog Rock and Writing About Blondie

Tuesday, November 17th, 2015

I have nothing to say in regards to recent events that I feel like sharing with anyone aside from this: when faced with crippling dread and/or anxiety related to world suffering I find that prog rock helps.

I recommend Yes’s third album. It’s a good one.

I wish I had prog rock to share with you tonight, but instead some post-new wave disco remixes and Japanese covers of German techno will have to do.

Good Boys (Giorgio Moroder Extended Short)
Good Boys (Giorgio Moroder Single Mix)
Good Boys (Scissor Sisters’ Gyad Byas Myax Mix Extended)
Good Boys (Scissor Sisters’ Gyad Byas Myax Ya Mix)
Good Boys (A1 People Full Version)
These are remixes of a track from Curse Of Blondie, the Blondie album nobody bought. I include myself in that royal nobody, so I can’t comment on the quality of said record. “Good Boys” is a pretty dope track, and the Moroder remixes really channel the frantic and dark energy of their classic “Call Me.” It’s no “Call Me,” obviously, and the weird Queen-esque rap is a bit out of place, but it’s still pretty good.

I don’t know what the fuck “extended short” means in terms of remixes though. That’s not a thing, Blondie, don’t say that!

Yellow Magic Orchestra
If you’ve been reading my massive all-encompassing review of YMO’s work, you’d know that this song opens their most recent live album, No Nukes 2012. It’s a good live album, but the only thing that makes it stand out at all is this somber and haunting cover of the classic Kraftwerk tune, which I feel that YMO have made their own with this fantastic take on it. I hope one day that I get to hear YMO perform live in person. Takahashi has a new studio album coming out this year so hopefully I’ll at least get to see him sometime soon.

Neil Young’s Dance Remixes

Friday, October 30th, 2015

I hope I’m not the only person who finds tonight’s music interesting.

Neil Young
Sample And Hold (Dance Remix)
Sample And Hold (Single Version)
Sample And Hold (LP Version)
Mr. Soul (Dance Remix)
You have no idea how happy I was to find this single.

Quick backstory (which I’ve covered multiple times here). In 1982 Neil Young released Trans. It was a radical departure for him, abandoning the rock style he was known and acclaimed for and replacing it with a strongly electronic/synthpop sound. Not only that, many of the songs found Young experimenting with a vocoder, which distorted his voice to near unrecognizable levels at times (as someone who has never been a fan of Young’s voice, I don’t consider this to be a bad thing).

It’s a brave, crazy and entirely original record (with a few amazing “traditional sounding” Young tracks too), but it was a massive bomb both critically and commercially. It also wound up being the first in a series of intentionally obtuse and experimental albums that led to Young being sued by his label at the time for releasing music that was too uncommerical.

The album was out of print forever. I even shared the entire thing here twice. But now it’s back in print digitally and I highly recommend buying it. The version on digital storefronts is the CD version, which is remixed and significantly altered when compared to the original LP mix.

I don’t know which came first, the CD mix or these single mixes for “Sample And Hold” and “Mr. Soul,” but it’s obvious that one influenced the other. All the changes that are present on these mixes are also present on the CD version. The guitars are muted, the cymbals are removed, and the beat is punched up to the front of the mix. Both just feel substantially more “electronic” in about every way you can imagine. The CD version of “Sample And Hold” is still the best though, largely because it’s a ridiculous eight minutes long.

Seriously, buy Trans. That album is nuts.


Another Post With Synthpop From Two Different Continents

Saturday, September 19th, 2015

Been busy! Mostly the good busy! And I wrote a lot of shit on my other site. I finished my guide to YMO’s albums, which took me far too long so I hope you all read it, share it and enjoy it. Then I did a write-up on the Mario Anniversary Celebration that I went to. I still haven’t seen much English language coverage of that, so if you know anyone who would be interested in reading such an article please pass it along to them. Same goes for my review of the Mario Anniversary music CD.

Basically, I’m asking you all to read my shit and pass my shit along to others who might enjoy it and do the same. Because sometimes validation via readership feels nice.

Lots of music tonight! Shit, lots of words tonight!

Masquerade (Extended Version)
Like Flames (Extended Version)
Dancing In Berlin (Dance Remix)
You Don’t Know (Extended Remix)
The Metro (Remix)
No More Words (Dance Remix)
These are all of the Dancing In Berlin remix EP, which only came out in Japan. And if you think that the only reason that I moved to Japan was so that I’d have a chance of finding rare out-of-print CDs like this in budget racks for less than five bucks you’d be…not entirely off mark.

Seriously though, I was pretty excited to come across this one today. I already had most of these tracks as vinyl rips, but most of them were still kind of scratchy despite my best efforts to clean them up. And these remixes of “Masquerade” and “Like Flames” are entirely new to me.

If you’re reading this blog then you’re probably in agreement with me that Berlin is totally one of the best bands of the 80s. If you’re not, well then, why the hell are you reading this blog? All their albums are good, even Information, which doesn’t feature Terri Nunn. I’m partial to the last “classic” album Count Three & Pray though, thanks largely to the inclusion of “Pink And Velvet” which is an achingly beautiful tragic ballad about junkies that just happens to feature one of the best guitar solos that David Gilmour (yes, that David Gilmour) ever put on wax.

That album also features Ted Nugent. So if you want to stump your friends on trivia night with “What album features David Gilmour and Ted Nugent?” then you’re welcome.

By the by, I didn’t include the extended version of “Sex (I’m A…)” because you can get that on the CD and digital editions of Pleasure Victim.

Akiko Yano
Tong Poo
Tong Poo (Welcome To Jupiter Version)
Tong Poo (Naked Jupiter Version)
Zai Kung Tong Boy (在広東少年) (Original Version)
Zai Kung Tong Boy (在広東少年) (Tobashite Yukuyo Version)
Zai Kung Tong Boy (在広東少年) (Live Version with Ryuicihi Sakamoto)
Akiko Yano is a pianist singer-songwriter who came to prominence in Japan during the 80s due to her relationship with YMO (which was more than professional, she was married to Ryuichi Sakamoto for a bit). I put some of her stuff on here ages ago, including the first version of “Tong Poo” that I’m including here again tonight.

The other two version of “Tong Poo” (which I keep typing as “Tony Poo” for some reason) are new. I mean that literally, they’re on her new album, Welcome To Jupiter, which just came out this week. I know I usually don’t post music you can get legally but I do realize that the overwhelming majority of you all reading this don’t live in Japan, so your options for picking this up by legal means are relatively limited. Because record companies don’t understand how digital distribution works.

The Welcome To Jupiter version is an interesting take that combines acoustic instruments with some oddball electronic sound effects. I don’t know if I like everything it does (but waterdrop sound effect is a bit much) but I do appreciate its eccentricity. The “Naked Jupiter” version is an instrumental that’s included as a bonus version of the deluxe edition of the album.

“Zai Kung Tong Boy” is a great song with a really interesting lineage. It was written by Sakamoto and included on Yano’s album Dinner Is Waiting, which was co-produced by Sakamoto as well and features contributions with the rest of YMO. The song was also frequently performed live during YMO concerts, with Yano still on vocals as she was one of their touring keyboardists at the time. It was apparently also performed often at Sakamoto solo shows. The second version is taken from one such show, included as a bonus track on a Sakmoto box set I purchased last year. This version is over seven minutes long and features some SICK shredding.

The final version was taken from Yano’s 2014 album  Tobashite Yukuyo, which featured Yano working with several prominent Japanese producers (a trend she repeats on Welcome To Jupiter). In this case, the producer is Yoshinori Sunahara, formerly of Denki Groove, who has also done remix work for Cornelius and Yukihiro Takahashi of YMO. That same album also features a collaboration with Boom Boom Satellites, and I’ll try to share that sometime soon.


Let’s All Go Back To LiveJournal and Listen to Madonna Together

Saturday, September 5th, 2015

Okay so I need to rant about something and I really can’t do it on my other site because less understanding family go there and I can’t do it on Twitter because it would be about a thousand tweets. So congrats, you all win.

Like, what the fuck is wrong with Facebook?

What is it about Facebook that brings out the absolutely shittiest forms of expression in people? Facebook should be awesome, especially for someone like me, an expat who has friends on multiple continents. But it’s not. It’s a wasteland of horrifically unfunny plagiarized memes, anti-science babbling and racist bullshit.

Why? Why do people feel the need to contribute to that festering stew? Who clicks “like” on something that says “click like if you remember [NOSTALGIA]?” Why do that?

Ugh. It’s disgusting. And seeing a sizable minority of my friends recently speak out against #blacklivesmatter as something that’s allegedly racist just makes my head want detach itself from my neck and crawl itself up my ass just because it might find less shit there.

If your natural response to seeing someone post something related to #blacklivesmatter is to say “hey all lives matter” then shut up. Just shut up. Google “All lives matter” and see the racist mountain you’re willing to die on. Shut up. It’s not about you. Shut up and listen. I’m willing to bet you don’t do that a lot.

I’ve given up all hope that we’ll ever live in a “post-racial” society but I’m counting down the days and praying that we someday live in a “post Facebook” one.

There should be a social network dedicated to only sharing original content. Of course, if there was no one would bother to use it, because writing original content is hard and scary and omg look at this Minions meme.

Here are some Latin interpretations of Japanese techno songs performed by a German DJ. And Madonna because I’m gay.

Señor Coconut and His Orchestra
Limbo (instrumental version)
Behind The Mask (Original Hamster’s Yellow Miami Magic Sound Orchestra Machine Remix)

The Madmen (instrumental version)
Ongaku (instrumental version)
Simoon (instrumental version)
I could have sworn that I posted some Señor Coconut before. Huh. Strange. Maybe it was attached to one of the very few posts I’ve had flagged for DMCA violations before (upside to maintaining a woefully unpopular blog on my own server is that I don’t get a lot of those).

Anways, Señor Coconut is the alter ego of one Uwe Schmidt, a German DJ based in Chile. As Mr. Coconut, Schmidt takes classic songs and reimagines them as bossa nova dance jams. It’s a solid concept.

In 2005 he dedicated an entire album to bossa nova covers of Yellow Magic Orchestra songs and called it Yellow Fever. I found a vinyl copy of it last year and fell in love with it. But I was extra elated to pick up a used copy of the Japanese CD edition last week, as it contains a shitload of bonus tracks, all of which I’m including here.

Strangely, on the CD itself the remix of “Behind The Mask” is included as a “secret track” attached to the instrumental of “Ongaku.” As to make things a little less confusing, I went ahead and separated them into two separate tunes.

Give It 2 Me (Eddie Amador Club)
Give It 2 Me (Fedde Le Grand Remix)
Give It 2 Me (Eddie Amador House Lovers Remix)
Give It 2 Me (Oakenfold Extended Remix)
Give It 2 Me (Tong & Spoon Wonderland Mix)
Give It 2 Me (Jody den Broeder Club)
Give It 2 Me (Sly and Robbie Ragga Mix)
Another product of the great Madonna singles buying marathon of April. While “Give It 2 Me” is not a bad song, I’m going to go out on a limb and say that it didn’t deserve this multitude of remixes.