So I need some help from my loyal fanbase once again. I’m working on assignment for my journalism class about digital music distribution and I need to talk to some of “the people”. If you bought Radiohead’s latest through their website I would like to talk to you briefly either over IM or email. Basically I need to know what you paid for it, what you thought of them releasing their album like they did and related shit. The story is not going to be printed in the college newspaper (trust me on that) but it will be online at the school’s website. So if anyone wants to help a poor college student with his stupid homework then email me (address is in the sidebar) and help a brother out. I can’t say I’ll hook anyone up with something special if they do agree to be interviewed but you never know how generous I might be.

Radiohead
Everything In It’s Right Place (Oakenfold Remix)
Speaking of Radiohead, here’s a remix of one of their songs by everyone’s favorite pretentious overrated DJ (oops, that’s Tiesto). For some reason an Oakenfold greatest hits and remixes compilation arrived in my mail this week (I love being on random press mailing lists) and it lists this remix as an “Exclusive New Oakenfold 2008 Remix” which is pretty astounding considering that it is still 2007. It’s the best remix on the album, but that’s not saying much. Also included on the comp his remixes of Massive Attack’s “Unfinished Symphony”, The Smashing Pumpkins “Perfect” and “Days Go By” by Dirty Vegas. They all suck compared to the originals and countless other remixes that those songs have. There’s also a remix of Afrika Bambaataa & The Soulsonic Force’s Planet Rock (which in itself is a remix of Kraftwerk’s “Trans-Europe Express) but it’s not properly credited as a remix of the Bambaataa track, instead its given the rather pretensious credit as a track “presented by Paul Oakenfold”. That’s a pretty bold statement considering Oakenfold was only 19 when this track was originally released.

John Cooper Clarke
Evidently Chickentown (Live)
I picked up the soundtrack to the upcoming Ian Curtis biopic Control this week and it’s a great collection for those into the 70s punk/post-punk scene. In addition to the obligatory Joy Division tunes it also includes favorites by Roxy Music, Iggy Pop and David Bowie. Also included are selections from the original score by New Order. I was most happy to find this 32 second rant by”punk-poet” John Cooper Clarke, as I’ve never found it on CD. I actually bought it for this one track, making it the most expense song in my collection.

Buzzcocks
Boredom (Live At The Roxy)
As a nice bonus though the soundtrack also includes this live version of this classic Buzzcocks song. I saw them live a few years back when they opened for Pearl Jam and they still sound this good. Amazing.

Grace Jones
She’s Lost Control (Long Version)
Oddly enough, the soundtrack to the movie Control doesn’t have the the song from which the title of the movie is derived, “She’s Lost Control”. Why? I have no damn clue. However, I am using that glaring omission to put up one of my favorite “what-the-fuck” covers in my collection, which is androgynous disco rocker Grace Jones covering the gothic post-punk classic. She can’t sing it , the rhythm is all off and it’s a fucking mess. I love it. She should totally cover “Dead Souls”. This version of the track is from a 12” single.

No music, quick rant.

I just spent 20 minutes deleting shit spammer comments from most of my posts. It appears I got flooded tonight with them. If anyone out there can help me figure out where these come from I’ll be eternally in your debut and give you any MP3s you want. I’d like to know if there’s a way I can track these dickless fuckers IPs and what not. The more personal information I can get from them, the better. I like to hurt people who annoy me.

Holy crapoly, two posts in two days! I’m suddenly prolific again! A side-effect of said increased productivity is that I have nothing to say right now, so I’ll just get straight to the tunage.

Primal Scream
If They Move Kill ‘Em (My Bloody Valentine Arkestra Mix)
If They Move Kill ‘Em (12” Disco Mix)
Darklands
Badlands
It’s hard to pick a genre when cataloging Primal Scream. I don’t think Alternative indie acid house techno brit-pop rock is a category. I just went with electronic for these tunes, which are off of the 12” for ‘If They Move…”. I picked up this single for two reasons; its awesome cover and the fact that it takes it name from a line in The Wild Bunch. I was bummed that the said line is only mentioned once though. Bummer. Badlands and Darklands are B-sides. Both are remixes of the same song and are some trippy-ass tunes.

The The
The Beat(en) Generation (Campfire Mix)
The Beat(en) Generation (Palmer Mix)
Angel
I’m sick of trying to find out information of The The songs on Google, especially when they have exceptionally generic titles like ‘Angel.’ I believe that track has never seen the light of day on CD, but I could be wrong and I’m not going to scour the net to find out. It, as well as the two remixes with it, come from the 12” for ‘The Beat(en) Generation.”

Living Colour
Funny Vibe (Remix)
Funny Vibe (Funky Vibe Mix)
Funny Vibe (Drummer Vibe)
So I bought Guitar Hero III for the 360 this Monday, and Living Colour’s great ‘Cult Of Personality’ is on it. But before I get to that I must share a funny story about me getting the game.

So it’s 8:30 at night and I’m rushing to get to the local Gamestop before they close. I didn’t reserve the game because I have better things to do with my life then keep a calender of upcoming releases in my bedroom. I get in Gamestop and ask for the game when the snotty little clerk looks up at me and says “Did you reserve it?”

I said no.

“Well, then we don’t have one for you!” she said in a bitchy tone. “That’s why you should reserve one.”

So I roll my eyes and say, “No, that’s why I go to the Exchange across the street and buy one there.”

She gives me a “whatever” look as I walk out, like I don’t have a chance in hell in getting the game there. But I walk into the exchange and grab one in about five seconds, they had about a dozen behind the counter. Walking back to my car the same snotty clerk is cleaning bird-shit off the window (man, retail is such an awesome job) and I give her the same look she gave at me back at her and smirk, “I don’t think you thought your cunning plan all the way through.”

Yeah, I know it’s not her policy, but she seems to be a proud enforcer of it and she also seemed to get off on disappointing my non-reserving ass. so whatever.

Anyways, Living Colour’s ‘Cult Of Personality’ is in the game, but it’s not the same version that was on their album Vivid, they re-recorded it with a brand-new solo that is ball-bustingly evil. I think it gave me a case of carpal tunnel. I finally beat it only to have my ass handed to me with Metallica’s ‘One’. I have to beat this game soon or my hand is gonna fall off.

Enough anti-retail/video game digressions though, these remixes of ‘Funny Vibe’ are from the song’s 12” single and they’re pretty bad-ass. It’s almost more rap than rock, and features some Public Enemy samples for good measure.

So last week I said that my next post would be either fluffy 80s pop or hardcore industrial depending on my mood.

Well, I just put $600 in my car, got a bad grade on an assignment and was blacklisted from something for reasons I can’t get into. So that means no Spandau Ballet today. Well, not everything tonight is industrial, but it’s all shit I can listen to when I want to punch a hole in the wall (which I really shouldn’t do now that I’m a homeowner).

Revolting Cocks
No Devotion
Attack Ships…
…On Fire
I think 80 billion people have worked with Ministry’s Al Jourgensen and his side-project Revolting Cocks. The list includes Jello Biafra, Robin Zander (yes, the guy from Cheap Trick), Rick Nielson (yes, the other guy from Cheap Trick), Billy Gibbons (from ZZ Top), Chris Connelly, Luc Van Acker and countless others. These 12” remixes are from the single for ‘No Devotion’ which was the very first release under the Revolting Cocks name. They’re also available on the CD re-issue of their first album Big Sexy Land.

Pig
My Favourite Car
Never For Fun
Hildelinde
You gotta appreciate a name as simple as Pig. In actuality he’s Raymond Watts, an early member of the industrial outfit KMFDM. So, you can assume he’s a happy fellow with an upbeat look on life. Just kidding, he probably wants to fuck the world. These are really early industrial tunes (circa 88) so they aren’t as aggressive and menacing as other examples from the genre. I still dig them though. These tracks are all on Pig’s debut record, which is out of print in the states. By the way, ‘Hildenlinde’ is a traditional German folk song or something.

Cyberaktif
Temper (Ext. Mix)
Meltdown (Parody)
Dream Needle
I must say that Cyberaktif is the most retarded alternative spelling of a word for a band name this side of Puddle of Mudd. Still, they rocked out some great industrial stuff during their short existence (they only released one LP and a few singles). Cyberaktif consisted of members for Front Line Assembly and Skinny Puppy, two of the earliest contributors to the industrial genre. These tracks are from the ‘Temper’ 12” single.

Skinny Puppy
Chainsaw
Assimilate (R 23 Mix)
Cage
Stairs And Flowers (Def Wish Mix)
Stairs And Flowers (Too Far Gone Mix)
Speaking of Skinny Puppy, here are some remixes from the uber-influential industrial pioneers. I’ve never been hugely into Skinny Puppy before, but now that getting more and more into industrial music I’m getting more curious about them. Anyone have any recommendations?

Alec Empire & El-P
Shards Of Pol Pottery (Hard Mix)
Shards Of Pol Pottery (No Wave Mix)
I love me some Digital Hardcore insanity. As you may or may not know (depending on your level of awesomeness) Alecc Empire was the creative force behind Atari Teenage Riot and nearly singlehandedly created the digital hardcore genre. I like to describe digital hardcore as a combination of punk, electronic music and punching a dude in the face. The craziest stuff by ATR and Alec Empire is ideal for people who think Slayer is easy-listening. Especially adventurous souls should check out their Live At Brixton Academy album, which is nothing more than 26 minutes of ear-bleeding noise. After one listen of that record you’ll think Metal Machine Music is for fucking pussies. Anyways, these two remixes of this collaboration with El-P are not nearly as caustic and abrasive as anything off of Alec’s other CDs, but are still pretty intense.

Argh. The weeks get ahead of me and the next thing I know it’s been eight days since I last updated my blog. Very annoying since I enjoy writing my ramblings at this site more than anything else I’m being forced to write right now thanks to school. To make up for my lack of updates I’m putting up some pop-favorites tonight. My next post will either continue that trend or consist of nothing but hardcore industrial techno. I haven’t decided yet. Probably depends on how pissed I am at the time.

Baltimora
Tarzan Boy (Extended Dance Mix)
I always assumed that Baltimora was the name of the dude singing. I had no idea that Baltimora was actually a band (or “music project”) created by some Italian producers. Gotta love that manufactured pop music. This is a retarded extended mix of the retarded hit that will get stuck in your head for weeks on end. You have been warned.

Cameo
Word Up! (12” Remix)
Little known fact; Cameo was not fronted by Larry Blackmon, but was in fact led by his codpiece. The codpiece also wrote, produced and performed all of the songs as well. Much like Nine Inch Nails, the band behind him is only used for live performances.

Animotion
Obsession (Remix)
Engineer (Remix)
“Who do you want me to be/To make you sleep with me?” Is this what pickup lines were like in the 80s pre-AIDS awareness? Subtlety was for suckers I guess. I remember rocking out to this song when I was seven years old, which I’m sure my mom loved. ‘Engineer’ is not nearly as catchy as that ode to semi-casual fucking, but it’s not bad. Both of these remixes are extended versions off of a promo 12”.

Men At Work

Does anyone have an extended remix of Men At Work’s ‘Overkill’? Either the acoustic or original version would suffice. I’ve always loved this song by them but I’m in love with ‘Overkill’ so any help would be appreciated.

Peter Gabriel
Don’t Break This Rhythm
Biko (12” Extended Version)
I Have The Touch (’85 Remix)
I got a build of Peter Gabriel that I plan on unleashing throughout the next week or so, starting with this stuff from a 12” single of ‘Sledgehammer’ (the best song about hard fucking ever). ‘Don’t Break This Rhythm’ is a B-side that has never appeared on an album proper, which is pretty amazing considering that it’s a great song and would fit great on any Gabriel album. ‘Biko’ is an odd song to turn into a 12” dance mix, considering its incredibly serious message and theme, but it surprisingly works and makes the song an even more powerful anthem then it was previously. I read somewhere that this tribute to the slain civil rights leader was the inspiration for Steven Van Zandt to write ‘Sun City’ one in a long line of awful-but-well-meaning collaborative efforts from the 80s. Finally there’s ‘I Have The Touch (’85 Remix)’ which is different from the ’82 version and different from the version that’s in that awful fucking John Travolta movie Phenomenon.

Okay, it’s been two weeks since my last post. I should come clean and tell you all why. The truth is that I’ve spent the past 14 days in a detox rehab facility undergoing….just bullshitting you, the horribly uninteresting truth is that I’ve just been busy as all hell with school and settling in to my new house. The fact that Halo 3 came out had absolutely nothing to do with the lack of updates at all…nope, not one bit.

Incidentally, if anyone out there wants to play co-op campaign on Halo 3 with me send me a message or email and we’ll hook up sometime. I suck hardcore and I need help on Heroic difficulty. My suck knows no bounds.

Anyways, I hope to update a lot this week to make up for lost time. I shall make no promises though since every time I do I break them. I will make up for the lapse in posts by making this one honkin’ huge though. I think this might be my biggest non-Urgh! post ever.

U2
Holy crapoly this is a lot of U2. I’m going to separate these by single, it’ll be easier that way.

Unchained Melody
Everlasting Love
These two covers are from the 12” single for ‘All I Want Is You’, which is from Rattle & Hum. Both are actually quite good and actually make both the chronically overplayed songs listenable and fun. Both of these also appear on the B-sides disc to the band’s first greatest hits collection.

The Three Sunrises
A Sort Of Homecoming
Love Comes Tumbling
Bass Trap
All four of these tracks are on the single for ‘The Unforgettable Fire’. This version of ‘A Sort Of Homecoming’ is different than the mix that appears on the EP Wide Awake In America and on the greatest hits B-side disc. This version of ‘Bass Trap’ is significantly different than the one that appeared on the B-side disc as well, being much longer. The version of ‘Love Comes Tumbling’ is the same one from the B-side disc though, and not the version from Wide Awake In America.

On a side-note, ‘Bass Trap’ minus one-letter is has to be the title to a porno.

Who’s Gonna Ride Your Wild Horses (Temple Bar Remix)
Paint It Black
Fortunate Son
These are from the 12” for ‘Who’s Gonna Ride Your Wild Horses.’ None of these are available anywhere else (except for that ridiculous “virtual box set” on iTunes). Unlike the covers on the ‘All I Want Is You’ single these aren’t that great. Although their take on ‘Paint It Black ‘isn’t the worst I’ve ever heard. It’s definitely better than Gob’s awful version. My money for the best cover of the Stones’ classic still goes to Echo And The Bunnymen though.

Even Better Than The Real Thing (The Perfecto Mix)
Even Better Than The Real Thing (Appollo 440 Stealth Sonic Remix)
Even Better Than The Real Thing (V16 Exit Wound Remix)
Mysterious Ways (Solar Plexus Extended Club Mix)
Mysterious Ways (Apollo 440 Magic Hour Remix)
Mysterious Ways (Tabla Motown Remix)
Finally, these assorted remixes are off of their respected 12” singles. The Perfecto and V16 remixes are by Paul Oakenfold in case you are wondering.

Devo
Peek-A-Boo (Dance Velocity)
The dominance of U2 over Devo in this post has nothing to do with my personal preference of either band, there just happened to be an assload of U2 singles at the record store last week. I like this Devo song more than any of the U2 tunes to be honest.

ZZ Top
Legs (Special Dance Mix)
I previously posted a “Special Dance Mix” of ‘Legs’ before. This is not the same one, it is in fact twice as long as previously said mix. This mix should’ve been named “The Long Legs Mix”. I wonder if I could get a job naming remixes for artists? I think I have enough experience! Hey, if the dudes that name Erasure remixes are reading this, hook me up.

Moving totally sucks and blows at the same time. Right now all my records are in boxes in the corner of my room, taunting me with their need to be organized and shelved. That can’t happen until I go to Ikea and buy shelves by the gross though. Until then here are some tunes that were already on my computer.

Sigue Sigue Sputnik
Sex Bomb Boogie (Magic Flute) (12” single version)
Sex Bomb Dance
Last week I put up Yello’s ‘Oh Yeah’ which was famously featured during the end credits of the seminal 80s pic Ferris Bueller’s Day Off. Sigue Sigue Sputnik also graced that movie with their lone US hit ‘Love Missle F-11.’ I knew nothing of the band until I picked up this single a few months ago, and had no idea that they were formed by a dude from Generation X (the Billy Idol band). After listening to a few of their tunes I’d have to say that their shit has aged amazingly well, far better than much more popular synth-driven stuff from the same time period. Much like Public Image Ltd., Devo, Big Audio Dynamite and other electronic-influenced post-punk bands I think their influence and lasting appeal is highly underrated.

Anyways, ‘Sex Bomb Boogie’ is totally awesome. I love it because it’s about five steps away from complete chaos but still manages to make you want to dance. The first version is off of the 12” single and is a little longer than the one that appeared on their album. The ‘Sex Bomb Dance’ is some insane dub/stereo mindfuck remix of the remix that fades in and out and back and forth between the left and right speaker. Listening to it with headphones on will make your head implode like those kids in Halloween III.

Freddie Mercury
Love Kills (Extended Version)
The best thing to come out of the horrid 80s remixing of the 1920 classic silent film Metropolis was this track by Freddie Mercury. Like a lot of his solo stuff, it surprisingly sounds nothing like Queen. This extended version is off of the Japanese 12” single.

Giorgio Moroder
Rotwang’s Party (Robot Dance)
The B-side to ‘Love Kills’. This is one of the songs that made up the score to the 880s version of Metropolis, but for some reason it was not included on the soundtrack. I don’t know if this was ever released on CD actually. Pretty good instrumental synth track.

Kraftwerk
Tour De France (French Version)
Tour De France (Remix)
These are remixes of the original Tour De France song, which was released as a single in 1983. Kraftwerk also released an album called Tour De France Soundtracks. These aren’t from that. I hope everyone is sufficiently confused now.

Syntech
Byt&e
Reaction
Syntech is the work of Edwin van der Laag, who was in some group called Laserdance in the 80s. According to this site, they were an influential eurodisco group. I have no idea about that. But if you like corny, spacey techno to listen to while playing Halo 3 or reading the latest Orson Scott Card book then you should especially enjoy it.

Someone commenting on my last post labeled my as a misogynist, which is something I don’t take lightly so I feel that I must defend myself.

Misogyny is typically defined as a hatred towards women because they are women. I don’t hate women. Sure, sometimes they confuse the hell out of me, but I definitely don’t hate them. I also don’t believe that calling for corophagia-related death of Fergie is a misogynist statement at all. Sure, it may be in poor taste and more than a little gross but being in good taste is no fun and has never been my style.

The things I said about Fergie were neither sexist nor were they misogynist. An example of that would be “Fergie is a woman, so of course she blew her way to the top.” I do not consider calling a woman a bitch to be misogynist either. Now, calling all women bitch certainly is, but that’s not what I did. I called that no-talent pile of shit a bitch.

Anyways, it should be painfully clear to anyone who reads my blog on a regular basis that I am a misanthrope, not a misogynist! My hatred is gender-neutral.

This’ll be my only post this week so I’m making it count in quantity and quality. See you next week.

Janet Jackson
Black Cat (Funky 12” Mix)
Black Cat (“3 Snaps Up” 12” Mix)
It’s funny. As I was putting together my last post I was thinking “I wish I had a copy of ‘Black Cat’ I could put up here. The next day I went to the Jerry’s record store and there it was! This has happened before. Maybe I have some sort of psychic link with Jerry’s. I’m going to start wishing for a 12” single of ‘Pour Some Sugar On Me’ and see what happens.

Madonna
Dress You Up (The 12” Formal Mix)
This single was behind the ‘Black Cat’ single that magically appeared. If I would’ve thought of it I would’ve wished for it too. In addition to being able to grant my wishes the store knows what I want before I do!

Sting
We’ll Be Together (Extended Mix)
We’ll Be Together (Previous Version)
Conversation With A Dog
I read somewhere that Sting was forced to put this song on Nothing Like The Sun because the rest of the album is so fucking depressing. That makes more sense then Sting deciding that it would be the perfect song to follow ‘Fragile’. That song is a downer and a half and this one is like a love song on uppers. These two remixes are from the 12” single, as is ‘Conversation With A Dog’, a really odd B-side that I don’t think has been released on anything else since.

Yello
Oh Yeah (Dance Mix)
Oh Yeah (Indian Summer Music)
Yello’s ‘Oh Yeah’ perfectly encapsulates everything about the 80s; shallow, meaningless fun backed by a funky synthesizer beat. It was also in Ferris Bueller’s Day Off, the one movie that perfectly encapsulates everything about the 80s. Just listening to this song and thinking about the movie makes me want to rock out some day-glo mesh tops and chug some Orange Julius at the mall. This dance mix is really just an extended mix, but the Indian Summer Mix is really out there. It has a bizarre combination of ambient tones and random sound effects that almost make the song into an ambient house anthem. Which is really weird when you consider than ambient house music was at least four years away in 1985.

Judas Priest
Turbo Lover (Hi-Octane Mix)
I’m not a homophobe, but the only thing more unappealing to me than the mental image of Rob Halford calling some girl his ‘Turbo Lover’ is the much more accurate image of him using the term to describe a man. This remix of the most dance-happy metal tune ever is off of the 12” single for the song.

Phil Collins
Take Me Home (Extended Mix)
I love that Phil Collins somehow managed to get hip-hop cred. In addition to this song being sampled by Bone Thugs N Harmony,’In The Air Tonight’ was covered and/or sampled by Lil’ Kim, DMX, and Tupac. Paul Wall jumped on the Collins band-wagon when he sampled ‘I Don’t Care Anymore’ a few years back. There’s even a hip-hop tribute to Phil Collins called Urban Renewal! I just found out about this about 20 seconds ago. It has a cover of ‘Sussudio’ by Ol’ Dirty Bastard! If anyone has that please let me know and I’ll be eternally grateful. This version of ‘Take Me Home’ is off of the 12” single.

Haven’t posted in a week or so, but I think this one makes up for the downtime…

Sir Mix-A-Lot
Baby Got Back (Tekno-Metal Club Mix)
Baby Got Back (Hard B.W.B. Hip Hop Mix)
Baby Got Back (Hurricane Mix)
Baby Got Back (Instrumental)
Cake Boy
You Can’t Slip

That’s right motherfuckers, four different versions of ‘Baby Got Back’! This is totally the best blog post in the history of MP3 blog posts.

Almost transforming the classic into an entirely different tune is the next remix, which is strangely dubbed the Tekno-Metal Club Mix). “I Like Big Butts” doesn’t drop until about two minutes into the mix, and the vocals are almost drowned out by an insane bassline that would sound at home on a Prodigy record. In fact, I think there are some samples used in this mix that were used later on for a Prodigy song (the moan in the background sounds very familiar, but I can’t place it).

The Hard B.W.B. Hip Hop Mix is even weirder than the Tekno-Metal mix. Mix-A-Lot’s vocals are put through a distortion effect to make it sound like he’s rapping out of a megaphone, and the same insane beat from the previous mix remains dominant. Added to the mix are even more crazy-ass sound effects and beats that nearly turn the tune into a drum-and-bass tune.

Finally there is the Hurricane Mix, which brings things back to normal with some heavy scratching effects. Out of the three mixes it’s the one that is most like the original and it’s a high-energy take on an already high-energy song and belongs on everyone’s workout mixtape. The instrumental cut sound be a gift from heaven to any bootleg mixers out there.

The last two tracks are B-sides that never appeared on any proper Mix-A-Lot album as far as I can tell, although a lot of people I talked to knew of ‘Cake Boy’ so maybe that popped up somewhere. Proving that Mix-A-Lot was really a prophet years ahead of his time, ‘Cake Boy’ is a warning to all the hardcore boys out there that they have to watch out for the effeminate men out there that only act gay – see, Mix-A-Lot called out the Metrosexuals years before Queer Eye made them the shit. ‘You Can’t Slip’ isn’t as interesting, and is just another “fucking up motherfuckers and pimps” gangsta rap tune. Belongs on a B-side.

If I could only find 12” singles for ‘Buttermilk Biscuit’ and ‘Posse On Broadway’ I’d be in late-80s rap heaven.

Okay, I can finally get back into a groove with updating for now. This is my short time of relaxation before I have to jump head first into my big move into a big house of my very own (so excited)! As a thank you to all of those who read my long angry rants from the past few days, here’s some great stuff. And for those of you who skipped them (and you know who you are) I guess you can enjoy these tracks as well (fuckers).

John Coooper Clarke – Walking Back To Happiness
Gaberdine Angus
Majorica
Bronze Adonis
Split Beans
Twat
Pest
Nothing
Limbo
Who Stole The Marble Index?
Gimmix Play Loud
John Cooper Clarke is my new obsession. As a large American misanthropic asshole, I find myself enjoying the rants and raves of this little British misanthropic asshole more and more as the days go by. I discovered Clarke through Urgh! and didn’t think much of him at the time. But a few months ago I stumbled upon this video for his poem ‘Chickentown’ (which was supposedly in an episode of The Sopranos not too long ago) and I became hooked. Does anyone know if this guy ever makes appearances in the states?

These tracks are from a clear 10” called Walking Back To Happiness that was originally released in 1979. It’s a live performance and I don’t think most of it has ever been released on CD. Many of the cuts on itare available in studio form on other albums, but poetry and spoken word performances always sound better live in my opinion.

If you only download one of these, make sure it’s ‘Twat’. Not only is the title one of my all-time favorite swear words, it’s also the best dis track in the history of recorded performances. Rappers could learn a lot from this one.

Big Audio
Looking For A Song (Extended Album Mix)
Looking For A Song (Zonka’s Adventures In Space)
Looking For A Song (Zonka/Shapps Early Mix)
Looking For A Song (The Zonka/Shapps Remix)
The popular consensus that by the time Big Audio Dynamite I/II became Big Audio in the mid-90s they had lost much of the excitement and energy that made them such a revolutionary band in the 80s. I can’t say much about it, as the last album I own by the Mick Jones-led group is Globe, but if this song is any indication I think that the popular consensus needs to be reexamined. This immensely catchy song about…writing an immensely catchy song is a great upbeat number that is not only about finding inspiration to write music, but the inspiration that music can give you. I nominate it as the theme song to The Lost Turntable.