The Name Of This Band Is Talking Heads
Today sees the classic double LP live set The Name Of This Band Is Talking Heads released on CD for the first time ever. It's two different live sets - one chronicling the era 1977-1979, the other 1980-1981. The first one is just the original line up while the second set is the 10 person strong band, playing the songs from Fear Of Music & Remain In Light. This includes Adrian Belew on blistering guitar, Busta Jones on bass, Bernie Worrell on keys and Nona Hendryx and Dolette McDonald on vocals. It's fantastic - in fact, I prefer this live set to Stop Making Sense. The best thing about this reissue is that Rhino has added a dozen songs that weren't on the original, including two of my personal all time favorites - Born Under Punches (The Heat Goes On) and Once In A Lifetime. This is the sound of a band at it's creative peak, and they sound amazingly good. Tight and funky and full of cool polyrhythms, art rock never sounded so good!
Tuesday, August 17, 2004
Monday, August 16, 2004
Heavenly Pop Hit
New Zealand is generally not known for it's rock bands. There have been a few acts that have made a splash on the global scene - The Clean, The Verlaines, Shona Laing, Crowded House (the Finn brothers are New Zealanders) and The Chills. The Chills were the brainchild of singer - songwriter Martin Phillipps, who began making music in the late '70s. Through many line up changes (10 or 11!) the band recorded a handful of records. The 1990 album Submarine Bells was the record that was supposed to break them to the world. The lead off single (and first track on the record) was Heavenly Pop Hit - The Melody Maker said "the aptest title of the week, a ridiculously attractive three-and-a- half minute mix of angelic harmonies and above-the-clouds tunefulness." It's a spot on review, and the tune is IMO a classic little pop tune. It got loads of airplay on alternative radio at the time, but never quite translated into big sales. The band finally called it quits around '94, although they have now reformed and are preparing new material. Enjoy this little bit of pop bliss...
New Zealand is generally not known for it's rock bands. There have been a few acts that have made a splash on the global scene - The Clean, The Verlaines, Shona Laing, Crowded House (the Finn brothers are New Zealanders) and The Chills. The Chills were the brainchild of singer - songwriter Martin Phillipps, who began making music in the late '70s. Through many line up changes (10 or 11!) the band recorded a handful of records. The 1990 album Submarine Bells was the record that was supposed to break them to the world. The lead off single (and first track on the record) was Heavenly Pop Hit - The Melody Maker said "the aptest title of the week, a ridiculously attractive three-and-a- half minute mix of angelic harmonies and above-the-clouds tunefulness." It's a spot on review, and the tune is IMO a classic little pop tune. It got loads of airplay on alternative radio at the time, but never quite translated into big sales. The band finally called it quits around '94, although they have now reformed and are preparing new material. Enjoy this little bit of pop bliss...
Sunday, August 15, 2004
Dykehouse, dios, Nouvelle Vague & Lizzy Mercier Descloux
Dykehouse's Midrange album has been out for a few months now, and the music blogosphere seems to have largely slept on this great record. Michael Dykehouse's last album was full of electronic instrumentals - very IDM. This new one is a radical departure in style and sound. This time it's all about the dense, shoe gazing sound of the early '90s - lots of huge guitar noise, and Michael sings on most tracks. Lost Holiday is an uptempo rocker that is this year's version of My Bloody Valentine's seminal Soon - dance-y beats, thick buzzing guitars and a similarly melodic appeal to MBV's tune. I highly recommend both of his albums - you'll be amazed at how different they are.
dios are a 5 piece from California who do the blissed out, folky rock thing. Reviews compare them to the Beach Boys, the Beatles and Grandaddy (who they toured with a bunch), and those are pretty accurate comparisons to make. Their 2003 (home recorded) debut has elements of all of those bands, and on You Make Me Feel Uncomfortable they add a touch of Neil Young to the mix - it's the plaintive vocals, the sci-fi keys and a gorgeous melody that make this a big tune. Be sure to check out their website for some twisted fun.
Nouvelle Vague's brilliant album of jazzy bossa nova covers of new wave classics has been getting major airplay on my stereo. It's a superbly conceived and executed record that I've already raved about here before, so I won't bore you with more hyperbole - check out their ultra cool version of Depeche Mode's incredibly catchy pop nugget Just Can't Get Enough.
Lizzy Mercier Descloux was part of NYC's No-Wave movement of the late '70s and early '80s. She blended dance and funk with arty rock and poetry (Patti Smith was once a flat mate), releasing several albums. Her albums of that era have been reissued over the last year by a newly reborn Ze Records. She passed away earlier this year after a year long fight with cancer. Tumour is her amusing remake of the old classic Fever - "when you put your arms around me you give me a tumour that's so hard to bear". It's funky, skronky fun.
Dykehouse's Midrange album has been out for a few months now, and the music blogosphere seems to have largely slept on this great record. Michael Dykehouse's last album was full of electronic instrumentals - very IDM. This new one is a radical departure in style and sound. This time it's all about the dense, shoe gazing sound of the early '90s - lots of huge guitar noise, and Michael sings on most tracks. Lost Holiday is an uptempo rocker that is this year's version of My Bloody Valentine's seminal Soon - dance-y beats, thick buzzing guitars and a similarly melodic appeal to MBV's tune. I highly recommend both of his albums - you'll be amazed at how different they are.
dios are a 5 piece from California who do the blissed out, folky rock thing. Reviews compare them to the Beach Boys, the Beatles and Grandaddy (who they toured with a bunch), and those are pretty accurate comparisons to make. Their 2003 (home recorded) debut has elements of all of those bands, and on You Make Me Feel Uncomfortable they add a touch of Neil Young to the mix - it's the plaintive vocals, the sci-fi keys and a gorgeous melody that make this a big tune. Be sure to check out their website for some twisted fun.
Nouvelle Vague's brilliant album of jazzy bossa nova covers of new wave classics has been getting major airplay on my stereo. It's a superbly conceived and executed record that I've already raved about here before, so I won't bore you with more hyperbole - check out their ultra cool version of Depeche Mode's incredibly catchy pop nugget Just Can't Get Enough.
Lizzy Mercier Descloux was part of NYC's No-Wave movement of the late '70s and early '80s. She blended dance and funk with arty rock and poetry (Patti Smith was once a flat mate), releasing several albums. Her albums of that era have been reissued over the last year by a newly reborn Ze Records. She passed away earlier this year after a year long fight with cancer. Tumour is her amusing remake of the old classic Fever - "when you put your arms around me you give me a tumour that's so hard to bear". It's funky, skronky fun.
Friday, August 13, 2004
Thursday, August 12, 2004
David Sylvian versus Wagon Christ
The last couple of years have seen a lot of remastered reissues of albums by Japan and David Sylvian. I have been getting a lot of them - they are one of my fave acts of the late '70s / early '80s - and it has renewed my interest in some of Sylvian's solo work that I never got around to checking out. I have to admit that after Secrets Of The Beehive I pretty much stopped buying his LPs, and didn't really hear a lot of his stuff. In one of my download searches I came across the 1999 track Godman, as remixed by Wagon Christ. I dig Wagon Christ, and was excited to hear this track. I wasn't disappointed. It's a typically quirky Luke Vibert production, with a hippy hoppy beat, some nice spacy vibes and a chorus with a very kid's sing-song feel to it. I love it - I don't think I've ever heard Sylvian sound so chipper!
The last couple of years have seen a lot of remastered reissues of albums by Japan and David Sylvian. I have been getting a lot of them - they are one of my fave acts of the late '70s / early '80s - and it has renewed my interest in some of Sylvian's solo work that I never got around to checking out. I have to admit that after Secrets Of The Beehive I pretty much stopped buying his LPs, and didn't really hear a lot of his stuff. In one of my download searches I came across the 1999 track Godman, as remixed by Wagon Christ. I dig Wagon Christ, and was excited to hear this track. I wasn't disappointed. It's a typically quirky Luke Vibert production, with a hippy hoppy beat, some nice spacy vibes and a chorus with a very kid's sing-song feel to it. I love it - I don't think I've ever heard Sylvian sound so chipper!
Sunday, August 08, 2004
Inspired by my recent forays into the world of vinyl ripping I give you some oldies from my 12" collection...
Set The Tone's Dance Sucker (Francois Kevorkian Remix) is a fantstically crunk punk funk number from 1982 - big disco beats, chikka chikka guitar and a seriously squelchy bass line with major ranting on the vocals. This tune blew me away back in the day and failed to make any kind of impression on the charts - I thought it deserved to be a big hit. It still sounds good today, fitting into the whole post punk dance rock thing. This version is the 12" remix by Francois Kevorkian, who is still successfully at it today.
Robert Palmer is best known for his hits with the Power Station, and for his stretch of solo hits in the mid '80s - you know, Addicted To Love etc.. A lot of folks don't know that he also dabbled in dance floor electronica in the early years of the decade, and You Are In My System is his stomping electro cover of the band The System's signature tune. I own a few of these 12"s from that era, and they are all fantastic and experimental, especially the b sides. This era of his career, between the bluesy stuff of the early years and the more crunchy rock of the latter years is still my fave period.
Felt's Ballad Of The Band is a catchy little number from '86 - it reminds me a lot of Lloyd Cole and the Commotions, but with Lou Reed on vocals instead. It's an uptempo guitar pop tune with some great organ, and has that classic Brit pop sound. These guys were one of Creation Records' great hopes at the time, but they never achieved big success.
Edwyn Collins' Seventies Night is not such an oldie - it just sounds like one. This is a remix by Deadly Avenger, and it is typical of his style - crusty as hell beats and big chunky bass. This is a big disco number, and I can imagine people roller skating to this one. Mark E Smith from The Fall provided guest vocals on the original, and they are the only vocals left on this mix. Good, fun mix.
Friday, August 06, 2004
Thursday, August 05, 2004
Act - Snobbery And Decay
After Claudia Brucken left the band Propaganda in the mid '80s she hooked up with electro pioneer Thomas Leer and recorded an album as Act. 1987's Snobbery And Decay was the first single, and appears here in 12" remix form. It's a big synth-funk tune with dry lyrics (you'd expect as much with that title!) - the first half of which is a dubby version of the tune with sampled snippets of dialogue from the old TV show Moonlighting thrown over the top of it - yes, Bruce Willis and Cybil Shepherd trading their sharp barbs, completely uncredited on the sleeve.
After Claudia Brucken left the band Propaganda in the mid '80s she hooked up with electro pioneer Thomas Leer and recorded an album as Act. 1987's Snobbery And Decay was the first single, and appears here in 12" remix form. It's a big synth-funk tune with dry lyrics (you'd expect as much with that title!) - the first half of which is a dubby version of the tune with sampled snippets of dialogue from the old TV show Moonlighting thrown over the top of it - yes, Bruce Willis and Cybil Shepherd trading their sharp barbs, completely uncredited on the sleeve.
Tuesday, August 03, 2004
Fatboy Slim, Bootsy Collins and Steve Miller?!?
The new Fatboy record Palookaville is ready for release, and the first single is a cover of the old Steve Miller tune The Joker, featuring starman Bootsy on lead vocals. Now I was a fan of Fatboy until he kept retreading the same old beats, and I'm a fan of Steve Miller too, so I have to admit to being intrigued by this cover. I don't think it reaches the level of coolness that the original did, but it's a fairly decent version - it reminds me a bit of Fatboy's old band Beats International and their late '80s hit cover of the SOS Band tune Love Be Good To Me. Will it spark renewed interest in Norman's career? You be the judge...
The new Fatboy record Palookaville is ready for release, and the first single is a cover of the old Steve Miller tune The Joker, featuring starman Bootsy on lead vocals. Now I was a fan of Fatboy until he kept retreading the same old beats, and I'm a fan of Steve Miller too, so I have to admit to being intrigued by this cover. I don't think it reaches the level of coolness that the original did, but it's a fairly decent version - it reminds me a bit of Fatboy's old band Beats International and their late '80s hit cover of the SOS Band tune Love Be Good To Me. Will it spark renewed interest in Norman's career? You be the judge...
The link to yesterday's Brilliant mp3 was broken - I am an html idiot! Thanks to Herr K. for giving me a clue, and the link is now functioning properly so download away!
Monday, August 02, 2004
Brilliant does James Brown
Brilliant were an early '80s group that featured Youth (the bassist from Killing Joke), Jimi Cauty (later of The KLF) and singer June Montana. They recorded an album with the yet to be huge Stock Aitken and Waterman as producers and then promptly broke up to go on to bigger and better things. The album has a few good tunes on it, one of them being their reggae-fied cover of James Brown's It's A Man's Man's Man's World. This was the first single from the record, and the version here is the extended remix from the 12". It's a dubbed out electro-skank version of the tune, quite different from the JB original, and is perfect summer listening. Now that I've has some success ripping my vinyl to mp3 you can look forward to some more cool 12" versions of older '80s stuff in the future!
Brilliant were an early '80s group that featured Youth (the bassist from Killing Joke), Jimi Cauty (later of The KLF) and singer June Montana. They recorded an album with the yet to be huge Stock Aitken and Waterman as producers and then promptly broke up to go on to bigger and better things. The album has a few good tunes on it, one of them being their reggae-fied cover of James Brown's It's A Man's Man's Man's World. This was the first single from the record, and the version here is the extended remix from the 12". It's a dubbed out electro-skank version of the tune, quite different from the JB original, and is perfect summer listening. Now that I've has some success ripping my vinyl to mp3 you can look forward to some more cool 12" versions of older '80s stuff in the future!
Sunday, August 01, 2004
Martina Topley-Bird released her solo debut Quixotic in 2003 in the UK to some pretty good reviews. It never got a US release until this last week when I happened to see it at the record store - I hadn't noticed it on any of the upcoming release stuff I check out. It isn't exactly the same record tho' - it's called Anything and it's 3 songs lighter than Quixotic. I really like it - it varies between the kind of beat laden hip hop stuff she did with Tricky (who's on 2 tracks here) and some swampier space blues stuff, as well as a bit of rock flava. Need One is definitely the harder side - it features Josh Homme on guitar and Mark Lanegan handles additional vocals. It's got funky beats,and a great rockin' chorus build up. The rest of the record is very nice too...
Radio 4 are preparing to release their major label debut in a month or two. It's definitely a much more dance oriented affair - a bunch more electro beats and synths. Some people will not like it as much - I'm not sure how I feel about it yet. Rise Up is a non-album track from the first single Party Crashers, and it's pretty typical Radio 4 fare - edgy disco with scratchy guitars and nice percussion.
This week's flashback is a real oldie from Japan. They made their debut in 1978 with the album Adolescent Sex, a blend of glam rock, disco and lots of spacy synth action. If you've only ever heard the band's '80s hits this music might surprise you - it really rocks. David Sylvian's voice is a raw and gruff. Television is a nine minute epic of funky space rock that features a seriously groovy guitar riff, a big synth action break and builds to a screaming guitar solo at the end. The band largely pooh-poohs this early stuff, and it is so different from the music that they had hits with - I think you can hear elements of what was to come. Personally I dig the old stuff, and have really enjoyed buying the reissues of these records that have been coming out this year. They all feature bonus tracks, and most of them have videos too. Fascinating stuff.
Radio 4 are preparing to release their major label debut in a month or two. It's definitely a much more dance oriented affair - a bunch more electro beats and synths. Some people will not like it as much - I'm not sure how I feel about it yet. Rise Up is a non-album track from the first single Party Crashers, and it's pretty typical Radio 4 fare - edgy disco with scratchy guitars and nice percussion.
This week's flashback is a real oldie from Japan. They made their debut in 1978 with the album Adolescent Sex, a blend of glam rock, disco and lots of spacy synth action. If you've only ever heard the band's '80s hits this music might surprise you - it really rocks. David Sylvian's voice is a raw and gruff. Television is a nine minute epic of funky space rock that features a seriously groovy guitar riff, a big synth action break and builds to a screaming guitar solo at the end. The band largely pooh-poohs this early stuff, and it is so different from the music that they had hits with - I think you can hear elements of what was to come. Personally I dig the old stuff, and have really enjoyed buying the reissues of these records that have been coming out this year. They all feature bonus tracks, and most of them have videos too. Fascinating stuff.
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