Ewoks Motherfucker: Star Wars Vinyl Day 1

January 5th, 2012

I was going through my massive stacks of vinyl, pulling out anything that I either hadn’t recorded before or wanted to re-record. Turns out I have a lot of Star Wars vinyl. It also turns out that almost all of it (maybe all of it, I still have to do some research on one) has never been issued on CD or digitally. If that’s not an excuse for a series of themed posts, I don’t know what is.

So lets get Star Wars Week (I know it’s starting on a Friday, shut up) off with a bang.

A cute, adorable, furry little bang.

Ewoks Original Soundtracks – Caravan of Courage/The Battle For Endor
If you ever needed proof that Lucas created the Ewoks solely as a way to make money, then look no further than the two Ewoks television movies. Originally broadcast in 1984 and 1986, Caravan of Courage and The Battle For Endor were two hour-long TV movies made squarely for the little snot-nosed kids who fell in love with the Ewoks the second Isaw the adorable little furballs in The Return of the Jedi.

Hey, it worked for me. I remember loving the first Ewok movie when I was a kid (although I don’t have any memories of the second) and thinking that the Ewoks were pretty cool dudes overall. It wasn’t until I learned about the evils of targeted marketing that I began to see the furry little fuckers in a darker light.

Since I have fond memories of the film, I am never going to go back and watch it. I assume it’s bloody awful. Just reading over other reviews and summaries of the movie, it sounds more like a Saturday morning cartoon than a proper Star Wars film, or anything anyone over the age of 11 should enjoy. Of course, you could say the same thing about anything Star Wars, so I guess I should just shut up before I dig a hole I won’t be able to get out of.

Instead, I’ll just focus on the scores, which is why we’re all here in the first place.

The scores to the Ewoks films were composed by Peter Bernstein (more on him in a bit), not John Williams, and it shows. They lack the majesty, bombastic flare and memorability that are all Williams’ standards, instead serving more as quality background music with the occasional uplifting beat inserted when needed in relation to the plot. More surprising is that the scores are 100% original with no call backs or references to the original Star Wars themes. I guess I have to commend Bernstein for that, better to create your own thing than to piggyback off the success of others, but it all sounds incredibly non-Star Wars because of it.

A bit about Peter Bernstein, a man whose oeuvre can only be described as…workmanlike. Since 1973, he has contributed the scores to nearly 70 films and televisions shows, and the Ewoks movies are probably the  most respectable franchise the man has ever been associated with. His other work is mostly in the B-movie realm, with scores to films like the Chuck Norris horror flick Silent Rage; the classic 80s sci-fi comedy My Science Project; and the cinematic classic Puppet Master vs. Demonic Toys all to his credit. He also composed the score for not only Hot Dog…The Movie, but also Hamburger: The Motion Picture. But hey, I’m not judging, a paycheck is a paycheck.

Peter’s father Elmer Bernstein was also a composer (the two would frequently work together), and he must be from who Peter inherited his impressive work ethic. Elmer Bernstein composed the scores for over 240 films and TV series in his lifetime, working until he died at the age of 82.

Elmer won an Oscar for his score to Thoroughly Modern Millie, and he also composed the scores to classics such as The Ten Commandments, To Kill a Mockingbird and Ghostbusters. But even he wasn’t above taking some work to pay the bills. In addition to his more “respected” work, Elmer Bernstein also composed music for films such as Saturn 3, Meatballs, The Good Son and Heavy FUCKING Metal. In fact, looking over his body of work, I just figured out that I own 10 of his soundtracks. Dude got around.

It should be noted that these are not the complete scores of other films. One LP can only hold so much music after all. Instead they are selected highlights from each film (with Battle of Endor being heavily favored). Oddly enough, they aren’t presented in any sort of order. So in case you were wondering, I’ll break them down for you now (and the download link is below the album art, in case you’re looking. I’m not doing individual links for this one):

Caravan of Courage
Trek
Izrina
Flying
Pulga Chase

Battle of Endor
Noa & Terak
Teek
Set Up/Terak’s Theme
Noa’s Ark
Good Night, Bad Dreams
Poker Game
The House
Escape
Farewell

“Into/Main Title” was used in both films.

This album was never officially released on CD, and don’t let anyone ever tell you different. The copy at Amazon is a bootleg, as evident by its hideous cover art and the fact that it credits John Williams as a composer.

So soak up B-grade Star Wars nostalgia, I’ll have more for you in a few days.

Posted in Complete Albums, soundtrack, Star Wars | 11 Comments »

Chairman Of The Board Part 2: Sinatra’s Revenge

January 4th, 2012

And now for not long awaited/demanded second half of my Frank Sinatra covers album post. You can find part one here.

Mind Over Matter – New York, New York
Mind Over Matter was an NYC hardcore punk band that, if their Last.FM bio is anything to be believed, played a major factor in the development of screamo. If I was Mind Over Matter, that’s not something I would be bragging about. I like this cover a lot, especially how it injects NYC crime statistics into the end. One of the best tracks on the album.

Swell – I’ve Got The World On a String
Swell are a lo-fi band that’s still going strong after over 20 years. You can find more info on their current releases here. I really dig this cover, and since lo-fi is the shit right now with all the kids today, I bet it’s probably the least dated track on their entire album.

Crust – All or Nothing at All
Another band with a Butthole Surfers connection (they were on the Surfers’ label for a short time). As you would expect from a band with a Butthole Surfers connection, they’re kind of weird. Info on them is nigh-impossible to find thanks to the fact that if you type in “crust band” on Google you get information on about 60 million shit crust punk bands instead.

Down By Law – That’s Life
I have four Down By Law tracks on my hard drive, and all of them are covers. I got their takes on The Proclaimers’ “500 Miles” and Big Country’s “In A Big Country,” and their version of “Peace, Love And Understanding,” taken from the Before You Were Punk covers compilation. They’re a great covers band,  one day I’m going to have to find out how their own songs are.

Treepeople – It Was A Very Good Year
The second version of “It Was A Very Good Year,” this one is vastly inferior to the version by The Flaming Lips. It’s not necessarily bad, and the crass lyric changes are kind of fun. It’s just really hard to top The Flaming Lips. I know very little about Treepeople, but I did learn from their Wiki page that one of members was Dough Martsch, the vocalist/guitarist of Built To Spill. Another member of the group was in The Hand, whose “Wouldn’t It Be Beautiful” is one of my favorite songs of all time. At least, if that’s the same The Hand that I’m thinking of. Seriously. Find “Wouldn’t It Be Beautiful.” You can get it on MP3 for a buck at Amazon. It’s a beautiful song.

Samian – Come Fly With Me
There is another musician named Samian, so I can’t find much of any information this group. Anyone want to fill me in? A fun cover, although the “let’s act drunk and play” shtick wears out fast.

Small – Something Stupid
Okay, you know what? Too many bands from the 90s had generic names that are impossible to search for online. The perils of band name creation in a pre-Internet world I suppose. From what I could scour up on Discogs, these guys used to go by Small 23, and released three full-lengths and one mini-album in the mid-90s before calling it quits.

Jawbow – I’ve Got You Under My Skin
Jawbox was a punk rock group out of DC. I know nothing about them other than that. I do love the short-but-sweet-and-obviously-written-by-a-fan bio for them that’s on Discogs:

“This band is unfortunately no longer making music, here was their lineup:”

This is a shockingly beautiful take on the song, and another standout track on the record. Sorry for the scratching songs during the intro, couldn’t do much to fix that.

Ritual Device – Young  At Heart
My favorite track on the album next to Toadies’ version of “Luck Be A Lady Tonight.” I really love the way that the upbeat vocals are delivered in such a dark and menacing way. I don’t know much about Ritual Device, aside from what Last.fm tells me. Apparently they’re a punk rock band from Omaha. If I had to live in Omaha I’d form a punk rock group too.

Mousetrap – I Wish I Were In Love Again
Another punk rock group from Omaha. Shit be crazy in Nebraska. They should all get together and do a covers album of that Springsteen record.

Severin – Mack The Knife
I’m calling bullshit on this one. The cover of Chairman of the Board says that the album features “interpretations of songs made famous by Frank Sinatra.” However, Frank didn’t cover this classic until the mid-80s. The version that made the song obnoxiously well-known is by Bobby Darin, not Frank Sinatra! I don’t like that version of the song and I don’t like this one by this DC punk band.

Gnome -This Town
I got nothing.

John’s Black Dirt – Bim Bam Baby
And ditto. This is the most obscure band on this album, and that’s really saying something.

Posted in Complete Albums, Crust, Down By Law, Gnome, Jawbow, John's Black Dirt, Mind Over Matter, Mousetrap, Ritual Device, Samian, Severin, Small, Swell, Treepeople | 2 Comments »

Chairman Of The Board – The Best Compilation of Frank Sinatra Covers that 1993 had to Offer

January 2nd, 2012

The random mid-90s alt-rock compilation; is there any better source for oddball rarities and bizarro obscurities? It’s thanks to this trend of “let’s package as many bands who we think the kids who like Nirvana might like together and see what happens” we have albums like No Alternative, with Soul Aslyum’s awesome take on “Sexual Healing” and that crazy Carpenters tribute record with Sonic Youth’s cover of “Superstar.”

Chairman of the Board, a collection of alt-rock groups taking on standards made famous by Frank Sinatra, doesn’t have any classic cuts like those records do, but it’s still an interesting time capsule showcasing the wide variety of alternative bands that existed in the mid-90s that had absolutely nothing to do with grunge.

The album originally came out on CD and (blue!) vinyl in 1993 by Grass Records as a benefit album supporting both NARAL and Rock For Choice (the album is out of print now, so I don’t feel guilty about giving away a charity record for free). Odds are you’ve never heard of most of the bands here, save for a few very noticeable acts who were on the verge of breaking through right before the album was released. Despite this, these crazy takes on songs that you no doubt have heard a billion times over are usually fun to listen to. And if you’re like me, they’ll have you wondering whatever happened to a lot of these also-rans from the alt-rock landscape.

The tracks I’m posting here are from the first LP of the two record set. I’ll be posting the second half later this week.

Screeching Weasel – Chicago
Screeching Weasel has been around for approximately 80 years, and 429 people have been in the group (actually, it’s more like 26 years and 20+ people, but whatever) and I don’t think they’ve ever had anything that could be considered a hit single. They’re one of those bands you’ve heard of but never actually heard. Or you have heard them, but don’t recall where from. Their rendition of “Chicago,” originally written in 1922 by Fred Fisher, is a straight-up “let’s take the original version and play it fast” punk rock cover. Silly fun.

Kramer – My Way
I’ve never heard of Kramer, but he apparently has toured/recorded/produced about half of the bands I liked in the late 90s, including Urge Overkill, Galaxie 500, Low, White Zombie and Butthole Surfers (and GWAR – who I totally met once…it’s a long story). He also knew Penn & Teller, which may be why Penn Jillette wrote the linear notes to the album. His version of this Paul Anka tune is fucking creepy.

Sister Double Happiness – Summer Wind
I know absolultely nothing about this band aside from what I found on YouTube, all of which is better than this hideously awful cover. You’ve been warned.

Babe The Blue Ox – Lady Is A Tramp
This band has a horribly written Wikipedia page that was obviously put together by either a fan or the drummer. That being said, the wiki page is accurate when it says “It would be impossible to classify the style of music favored by the group,” if this cover is any indication. Quiet acoustic sections, random horns blaring, SCREAMING vocals. I love it. I don’t know what it is. But I love it.

The Toadies – Luck Be a Lady Tonight
I’m so glad I found this album so I could finally know where this cover came from, I’ve had it on my computer as a shitty 128kpbs MP3 since I was in college. It’s a great cover, and like everything The Toadies have ever done, it’s vaguely creepy in an undefinable way. Random trivia: This song is from the musical “Guys and Dolls” and is sung by the Sky Masterson character, not Nathan Detroit, the character Sinatra played in the 1955 film. He didn’t perform it until the 60s.

Twitch – Pretty Colors
There are about 80 bands named Twitch. If anyone wants to tell me which one this is, who is in it, and what happened to them I would appreciate it, because I like this cover.

Lester Vegas -Fly Me To The Moon
Again, I have no idea who this is. I think this may have been his only release. Any help?

Ten Bright Spikes -Brazil
If someone ever pulls a gun on you and demands you name a song that was covered by Bing Crosby, Paul Anka, Frank Sinatra, Chet Atkins, The Vengaboys, Kate Bush and Arcade Fire (albeit not all at the same time – although that would be awesome!) you’ll have an answer. My favorite version is still probably the Kate Bush version, simply because it’s in the movie of the same name. This is a good version as well, and is one of two tracks on the album that were vinyl exclusives. Once again, this cover is by a band that I can find absolutely nothing about, so if anyone wants to fill me in please do.

Girls Against Boys – My Funny Valentine
Hey, a band I’ve not only heard of, but love! Let me share with you some Girls Against Boys (aka GVSB) facts.
FACT: Nearly every GVSB song sounds vaguely similar to every other GVSB song
FACT: Nearly every GVSB song is pretty good, rendering the above fact okay.
FACT: They have two bass players
FACT: They have a song called “Kill The Sex Player”
FACT: I have no idea as to what a “sex player” is, nor why someone would want said sex player dead.
FACT: They haven’t updated their website in three years.
This is also the only version of “My Funny Valentine” I’ve ever heard that didn’t make me want to pull my hair out. So kudos to them.

Prisonshake – I Wish I Were In Love Again
Apparently these guys have been around since the late 80s. But don’t feel bad if you haven’t heard of them before, because they’ve only put out three albums, one in 1993, another in 1995, and a third in 2008. Productivity is for suckers! This is probably the most straight-forward cover on the entire album, which is cute, but kind of boring.

The Flaming Lips – It Was a Very Good Year
Without a doubt the biggest band on this record (sorry Toadies), but if you’re hoping for some Wayne Coyne psychedelic theatrics, I’m sorry. This is a very low-key and minimalist cover, and actually sounds more like something Grandaddy would have done. It’s still cool though.

Pitchblende – Here’s To The Losers
I can only say “I like this weird cover but I know nothing about the band” so many times. But…I really like this cover but I know almost nothing about this band. They were from DC and put out a few records in the 90s before vanishing, from what I can tell.

The Vindictives – Call Me Irresponsible
Miek Weasel (of The Screeching Weasels) was in The Vindictives, and it shows. Another “let’s play the slow song fast” punk cover. Generic? Maybe. But hey, if the formula ain’t broke then don’t fix it.

Posted in Babe The Blue Ox, Complete Albums, covers, Frank Sinatra, Girls Against Boys, Kramer, Lester Vegas, Pitchblende, Prisonshake, Screehing Weasel, Sister Double Happiness, Ten Bright Spikes, The Flaming Lips, The Vindictives, Toadies, Twitch | 2 Comments »

Post-Christmas/Pre-New Year’s Dance Party

December 28th, 2011

How was everyone’s holidays? Did you spend them in Toledo? If not, then you did better than I.

Actually, during my trip I went to a few good record stores in Columbus and Dayton (I know! Something good in Dayton!

Goldfrapp
Number 1 (Alan Braxe and Fred Falke Instrumental Remix)
I totally thought that said “Fake Instrumental Remix” and I was like “what the fuck is a fake instrumental?” I think I need new glasses.

This is an actual, non-fake, instrumental, and one of the better instrumental remixes I’ve heard. It’s totally space disco and I love it. They should play this in a club in Mass Effect 3. It’s also great because it allows me to enjoy a Goldfrapp song without having to hear Allison Goldfrapp’s voice.

It brings back bad memories…it’s a long story.

Daft Punk
Around The World (Tee’s Frozen Sun Mix)
Around The World (I:Cube Remix)
Around The World (Motorbass Vice Mix)
I got these great remixes from a test pressing promo, complete with handwritten notes on the label and no tracklisting (I figured out the tracklisting by looking online). While the first and third remixes were released on various CD singles, the second mix was a vinyl exclusive from as far as I can tell, and a rather limited one at that. Of course, it’s the best one of the bunch as well. Go figure.

Gus Gus
David (Darren Emerson’s Underwater Remix)
David (King Britt’s Underwater Remix)
David (Medicine 8 Remix)
I thought the line “I still have last night in my body” was icky at first, until I recalled several hangovers of my college days, and suddenly I identified.

Of these three remixes, the Darren Emerson one is the best. But that really shouldn’t be a surprise now should it?

Posted in Daft Punk, Goldfrapp, GusGus | 2 Comments »

Strut Records: Ripping You Off With Laziness

December 23rd, 2011

I planned on a best/worst of the year list tonight, but something irked me so bad that I had to push that post back a few days.

Last week I bought Fac.Dance, a compilation by Strut Records that features many rare and hard-to-find dance tracks from Factory Records. Many of them are out-of-print and have never seen the light of day either digitally or on CD. I should have loved the record, but Strut had to go and fuck it all up.

I bought the album on vinyl in a 2LP set, it is also available as a 2CD set and digitally. Both the CD and digital versions include 24 tracks. However, the the vinyl version only has twelve songs.  While it does also include a download code, that code only gives you the 12 tracks that are on the LPs, and not the complete digital or CD versions of the album.

Confused yet? Don’t worry, you will be.

In addition that rip-off, all three versions have slightly different tracklistings. “Wild Party” and “Knife Slits Water (12″ mix”) by A Certain Ratio are only on the CD version; while “Black Water” by Kalima and “Motherland” by Royal Family And The Poor are only on the digital version. Furthermore, “Pretenders of Love” by Shark Vegas is on the LP version and digital version, but not on the CD version. If you want all the songs, you’ll have to buy the 2CD version, and then buy the digital exclusive tracks individually.

But why? Why does the vinyl version get the shaft? And why are their subtle differences between the digital and CD releases.

Well, I asked Strut’s Twitter account those very questions. According to them,  it was a licensing issue. Different versions have different songs because they could not “license every track in each format.”

But why not include a complete digital download with the 2LP version? Well, for that, they also hide behind the vague cover of “rights issues,” saying that they could not include those songs as “free content” because they did not own them.

Now, I’m sorry, but who said anything about free? The 2LP version costs significantly more than both the 2CD version and the digital version. Why not eat some of that profit by providing the album on CD, or including a complete download code (not for FREE, but as part of the cost).

Shit, you could probably even raise the price of the 2LP set to offset the difference. People like me would still buy it anyway.

It gets worse! Strut’s incompetence does not end there!

Until I pointed it out to them via Twitter, their store page for Fac.Dance featured the 2CD tracklist no matter which version you chose to buy. That omission has been corrected, but the page is still littered with errors and other confusing anomalies.

The digital version that Strut is showcasing on that page only has 17 tracks. Meanwhile, the digital version that Amazon is selling has 24. It should also be mentioned that the 17 track version that Strut is selling directly costs MORE than the 24 track version currently on sale at Amazon.

There is also a mistake on Strut’s website in regards to the 2CD version. Their store claims that the opening track of the second CD is New Order’s “Confusion.” However, if you go to THIS page at Strut’s website, that song is absent from the tracklist entirely. On that same page, “Time” by Minny Pops is labeled as a digital exclusive even thought it is on the CD tracklisting.

I probably spent more time writing and editing this rant than Strut did writing and editing their copy for the Fac.Dance release. Their “effort” in promoting and compiling this album reeks of laziness and corporate greed. I will never buy a Strut album again, and I suggest you exercise caution if you are considering doing so.

And on that note, Merry Christmas! I’ll see you all next week.

Posted in No music, rant | 5 Comments »

Happy Decemeber

December 21st, 2011

Happy holidaze everyone.

I’ll (sadly) be out of town all week, which makes recording and posting music hard. My plan is to have two most posts this week though. One will be without music, focusing on my favorite (and least favorite) albums of the year. The other will have awesome dance tracks. Let’s hope that all pans out.

Tonight: 80s pop! What’s a better way to celebrate whatever holiday you pretend to care about in order to get gifts?

Art Of Noise
Moments In Love (Long Version)
Moments In Love (Short Version)
Beat Box
Love Beat
These are from a weird single. First of all, the artist is credited as “Trevor Horn, Paul Morley, With The Art Of Noise.”

That’s weird because Trevor Horn and Paul Morley were in The Art of Noise, not only that, they were kind of the driving forces behind the group. That would be like crediting Dark Side of The Moon to “David Gilmour and Roger Waters with Pink Floyd,” or crediting a Wham! song to “George Michael and Wham!” Oh wait, that actually happened.

Secondly, the year on the single is “1983,” however, it’s also credited as being in the soundtrack to Pumping Iron II, which did not come out until 1985. If this single did actually come out in 1983, that would make it The Art Of Noise’s first release, but I’m more willing to believe that the actual release date was closer to 1985.

The versions of the songs are not labeled either. I added the “Short Version” and “Long Version” qualifiers, both tracks are simply labeled “Moments In love” on the single. I do not know which versions of these tracks these mixes are. If you do, please inform me.

Regardless of all that confusion, all these songs are great 80s electro and worth your time and then some. The Art Of Noise kicks ass.

Tina Turner
What’s Love Got To Do With It? (Extended Mix)
When I was eight-years-old I thought Tina Turner was the shit. Okay, maybe I was a weird kid. But I was still right, Tina Turner is the shit. Did you know she covered Massive Attack’s “Unfinished Sympathy?” She knocked it out of the park too. Tina can knock any track out of the park though. I bet she could cover a Radiohead track and turn that shit into a diva anthem. She’s that awesome. I wish this mix was just two more minutes of her going “Woah Oh Oh!” but it’s still good.

Ultravox
Dancing With Tears In My Eyes (Special remix)
When did I buy this single? I have no idea. But it was sitting in the back of my crate full of albums, languishing between some stupid soundtracks for who knows how long. I am so sorry that withheld this great mix from you all for so long. Word to the wise though, if you’re going to crydance, do it to a ballad. Sobmoshing looks dumber than shit.

Peter Gabriel
Soft Dog
This is a b-side to to the 12″ single of “Shock The Monkey.” I bought it months ago, recorded it, filed the record away, then discovered that my recording skipped. Once records reach my shelf (a feat in itself) I hate pulling them out, hence the massive delay in actually re-recording this right.

This is a quiet, but beautiful song, full of late-70s Peter Gabriel art-rock goodness. Most of it is instrumental, Peter only chimes in at the end with a brief chant of the title. Has this ever been issued on CD? I can’t believe it hasn’t. It’s quite good.

Siouxsie & The Banshees
Peek-A-Boo (Stockhausen & Waterphone Mix Instrumental)
I own two different “Peek-A-Boo” singles, one on CD and one on vinyl. The CD version tracks are on Amazon, and I suggest you pick them up. The “Silver Dollar Mix” is incredible. This instrumental is basically a modified version of that mix, and I believe it was exclusive to the vinyl version. Still a great track, even without Siouxsie’s voice.

Sometime this week, my best of/worst of lists! It’ll piss everyone off!

Posted in Peter Gabriel, remixes, Siouxsie and The Banshees, The Art Of Noise, Tina Turner, Ultravox | 5 Comments »

Hey kid, wanna be in a magazine?

December 19th, 2011

If you’ve bought a super deluxe box set in the past two years and want to be interviewed about it for a magazine article, shoot me an email (addy is to the right).

I’ll have a post with actual music later tonight.

Posted in Uncategorized | No Comments »

This Post Is An Accurate Microcosm Of My Record Collection

December 16th, 2011

My 80s dance party continues. Seems like the best way to get in the holiday spirit if you ask me.

Eurythmics
Right By Your Side (Extended Mix)
This song is adorable. I want to hug it. So cute, so lovey-dovey, I should hate it…but it’s just so nice!

What’s not nice, however, is my recording of it. The distortion you hear on the track is caused by the record itself, not my recording equipment; my encoding equipment; your speakers; or an evil space monkey. Okay, maybe an evil space monkey is to blame. If anyone has a version of the song that has not been tainted by an evil space monkey that destroys record grooves, let me know. I’ll repay your kindness handsomely.

Thomas Dolby
Airheads’ Revenge
Revenge Rap
Airhead (Def Ears Mix) 
Airhead (Rusty’s Mix)
The subject of “Airhead” is a woman who Thomas Dolby believes to be of sub-par intelligence. It’s a funny song that manages to lay out a few funny insults while avoiding sexist tropes. Even better though, is the “Airhead’s Revenge” track, in which the subject of Dolby’s derision gets back at him…via a dope rap diss track! Oh snap! She’s there to tell him that HE is the airhead, and that he better shut his mouth before she shuts it for him. Kind of awesome, but entirely bizarre at the same time.

The “Revenge Rap” mix is just her diss track, with none of Dolby’s vocals, while the final two remixes are just alternate versions of the original song, with no rapping to be found. So if you like your rap and new wave synthpop segregated (you racist) then you’ll probably like those more.

Enjoy the new wave/rap/wtf hybrid. And just remember that the man who created it is the same man who helped to create the technology that made polyphonic ringtones possible.

Adam Ant
Room At the Top (7″ Radio Mix)
Room At The Top (Extended Version)
Room At The Top (House Vocal)
A song from the 20th century about a person with an 18th century brain in a 21st century head that was written by a man who liked to dress like he was from the 19th century. Fuckin’…80s man…I don’t know. It’s a good song though.

 

Posted in Adam Ant, Eurythmics, Thomas Dolby | 5 Comments »

Dub Be Good To Blog

December 14th, 2011

I think I’m starting to run out of barely-known acts from the 80s and 90s to write about. I’ve gone pretty deep down the new wave/dance/electronic rabbit holes, but are there any acts out there you all would recommend that I haven’t yet featured on this blog? Any suggestions would be appreciated. I’m trying to get more into 90s dance music, but there’s just so much of it! I love acid house and trance, if that’s any help to anyone thinking of recommendations.

Tonight’s post is all “dub,” a genre whose defining aural charactistics are as mysterious to me as its name. I only know that these tracks are dub because the Internet tells me it is true.

What makes these songs dub? The basslines? The general “grooviness” of them? Their instrumental passages? And what the hell does dub have in common with dubstep? How the hell did that connection form? Reggae has about as much in common with Skrillex as baroque pop has with Mastodon.

Dreadzone
Zion Youth (Dreadzone Mix)
Zion Youth (Digidub Mix)
Zion Youth (Underworld Mix)
Zion Youth (Dan Donovan Mix)
Dreadzone is a dub/reggae/electronic group comprised mostly of former Big Audio Dynamite members, including Dan Donovan and Greg Roberts. When you consider the fact that I own every single release Big Audio Dynamite (II) ever put out, the fact that I had never even heard Dreadzone until I picked up this 12″ single last week is pretty amazing. It’s less amazing when you consider the fact that I don’t really like reggae.Don’t get me wrong, after listening to a bit of their music I’m convinced that Dreadzone are very good at what they do – it’s just not my scene. However, if I smoked weed this shit would probably sound amazing.

Even if you don’t like dub/reggae I recommend checking out the Underworld mix, since it basically transforms the track into an above-average mid-90s rave tune. In fact, I suspect they reused much of their work on this remix for their own track, “King of Snake,” a few years later. It certainly sounds familiar to that legendary track.

Beats International
Won’t Talk About It (12″ Norman Cook Mix)
Won’t Talk About It (7″ Norman Cook Mix)
Won’t Talk About It (12″ One Big Bad World Mix)
Won’t Talk About It (12″ Frankie Foncett Mix)
Won’t Talk About It (7″ Beats International Theme)
Beats International was the first dance music vehicle for Norman Cook (AKA Fatboy Slim) after his days as the bass player for The Housemartins, but before his days as Freak Power, Pizzaman, The Mighty Dub Katz or whatever other horrible name he went by for five minutes in the mid-90s. That’s an interesting bit of music trivia, but what I find to be much more of an interesting tidbit about Beats International is that they employed a graffiti artist as a band member. This person’s only job was to spray paint shit on the stage during live shows.

And I thought that The Mighty Mighty Bosstones were the only band to have members whose sole purpose was to do stupid shit on stage. The Internet, read it, you’ll learn shit. Not important shit, mind you, but hey, beats working.

These are all excellent mixes of a great tune. I especially love the “One Big Bad World Mix,” as it has a pretty awesome intro. The “7” Beats International Theme” mix is pretty great too, although its propensity for using record scratches as a backbeat totally wreaked havoc with my scratch-removal software.

Posted in Beats International, Dreadzone, Fatboy Slim | 6 Comments »

Dropping Love Bombs on Northern Towns

December 8th, 2011

It seems like forever that I’ve had a post of nothing but random 80s remixes! Sounds like a problem that I need to fix.

The Dream Academy
Life in a Northern Town (Extended Mix)
Test Tape No. 3
Poised On The Edge of Forever
 Did you know that Pink Floyd’s David Gilmour produced The Dream Academy’s debut album from which “Life in a Northern Town” originally appeared? I didn’t know that until I scoped the linear notes for this 12″ single.

David Gilmour’s 80s career was…weird. In addition to producing and contributing guitar work on this album, the legendary guitarist also appeared on or produced albums with Wings, Bryan Ferry, Arcadia, Pete Townshend, Dalbelldo(!!!), Kate Bush, Warren Zevon and Atomic Rooster. He also worked with Berlin on their 1986 album Count Three & Pray, contributing an amazing outro guitar solo for their seven-minute ode to junkies in love, “Pink And Velvet.” That song is one of Berlin’s best, and if you haven’t heard it, I recommended you check it out. And I’m not just saying that because of my long-standing unrequited crush for Terri Nunn.

Anyways, back to The Dream Academy. “Life In A Northern Town” is a classic tune, and you probably know it , even if you don’t know that you know it. It’s one of those ubiquitous tunes that have become part of the world’s collective subconscious (no matter how much Sugarland’s shit cover damaged its reputation).

You also probably know the original version of “Edge Of Forever” if you grew up in the 80s and watched Ferris Bueller’s Day Off. This renamed version is a little different than the album cut (which was the version that appeared in the movie). It has some crowd noise at the end, but I suspect that was tacked on to give it the illusion of sounding live. I suspect it may be a demo version or early mix. I’m certain that’s what “Test Tape No. 3” is, if for no other reason than the rampant amount of tape hiss in the original recording.

Godley & Creme
Cry (Extended Version)
Love Bombs
Speaking of songs you don’t know you know, I bought this 12″ single just because I saw Trever Horn’s name on it. I had no idea that it was the song that had that awesome video with the fading/morphing faces from the 1980s. This extended remix is completely awesome, and it may be the mopiest song that I’ve rocking out to all week/month/year. I should hate this song, it’s so “Waaaah! Please don’t leave me!” But I think I’m too busy screaming “You make me wanna cryyyyyyyyy” at the top of my lungs to accumulate any amount of hate for this truly magnificent ode of rejection. Although I suspect my roommate may be getting sick of it.

“Love Bombs” sounds like a Sparks song gone horribly wrong, but kind of in a good way. It definitely has Trevor Horn’s fingerprints all over it, and a shitload of bongos.

Also “Love Bomb” sounds the worst sexual slang ever, but I don’t think it is.

Bryan Ferry
Limbo (Latin Mix)
Limbo (Brooklyn Mix)
Is it just me or does Bryan Ferry sometimes sound like Bob Dylan on Quaaludes?  There is nothing “Latin” nor “Brooklyn” about either of these mixes, unless there’s something about excessive synthesizers being from Latin America/New York that I don’t know about. They’re still cool mixes though.

Posted in B-sides, Bryan Ferry/Roxy Music, Godley & Creme, remixes, The Dream Academy | 5 Comments »

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