Boredoms: Boretronix 2

Summer of 1993, phony01 bought Pop Tatari on cd and brought it to the local coffee shop/show venue/teenage loitering club I volunteered at. At this point, I already really enjoyed a lot of extreme music of some form or another, but I never heard anything like Boredoms.

The cd cleared out most of the room, but half of us stuck around and enjoyed what we were listening to. Much of it was pretty comical and cartoonish then from out of no where very violent or degrading on the ears in some way. Usually a hi pitched tone for minutes.

Lucky for phony01, he was able to see BO during that release at Lalapalooza. His report on the show was that "they played everything live as how you would hear it on cd." Knowing that gave me more respect for them and was intrigued.

This is a rare cassette that was released in 1989, just a few years prior to the Pop Tatari release. Only 100 existed. I think this cassette has some great material on it. Even if it is a little low fi, the energy of Boredoms will always stand out on whatever they do.

Boretronix 2



There is no track listing for this release

Camberwell Now: All's Well

Camberwell Now formed in 1982 after This Heat disbanded. Their drummer/vocalist Charles Hayward, bassist and vocalist Trefor Goronwy (who replaced Gareth Williams in This Heat when he quit), and This Heat's old sound technician Stephen Rickard rounded the bill. Stephen is noted as bringing the studio to the live show.

I was introduced to Camberwell Now from a friend this year. He was giving me a ride to my old practice space to pick up some equipment when he played "Daddy Needs a Throne" in his car. Needless to say, I was blown away.

Me: "Who's this?"

Friend: "Camberwell Now. The drummer and bassist of This Heat's band afterwards."

Me: "Damn.....sick."

This record is, essentially, everything they released. Which was one full length entitled The Ghost Trade, two 12" EPs and some tracks for a magazine and some compilations. There's some tracks missing on this collection/reissue, but I'm uncertain as to what they are.

Like This Heat, there is a lot of studio trickery, use of electronics, intricate bass lines and musicianship. Very impressive stuff.

All's Well

Part 1

Part 2



Below is the track listing along with release title/credits

Meridian
1 Cutty Sark (2:48)
Bass, Tambourine - Charles Bullen
2 Pearl Divers (3:31)
3 Spirit Of Dunkirk (2:39)
4 Resplash (7:55)

5 Daddy Needs A Throne (3:24)

The Ghost Trade
6 Working Nights (7:45)
7 Sitcom (4:40)
Voice - Mary Philips
8 Wheat Futures (6:14)
9 Speculative Fiction (6:11)
10 Green Lantern (3:16)
11 The Ghost Trade (11:14)
Voice - Polly Edmett

Greenfingers
12 Greenfingers (5:52)
13 Mystery Of The Fence (3:11)
14 Know How (3:44)
15 Element Unknown (1:35)

Can: Tago Mago

Music critic Piero Scaruffi wrote, "With just one album, Can pioneered several genres that would become popular in the 1990s: industrial music, noise-rock, trip-hop and post-rock."



I would see the record covers at stores growing up as a teen, but had no idea what the band was going for. In magazines, many performers, groups, etc I loved would site Can, especially this release, as a major influence. When I was traveling through out mainland Europe six and seven years ago, friends would play their albums.

"You must hear them. They're simply amazing.." my friend Simon said."They're my all time favorite."

Tago Mago was Can's second LP. This record featured Kenji"Damo"Suzuki on vocals, which replaced Malcolm Mooney after he had a break down. It should also be noted that Tago Mago was recorded in castle Schloss Nörvenich in Cologne, Germany.

If you taken an interest or note to any of the music prior to this posting, you should do the same with this release/group. A definite favorite and still to this day refreshing to the ears.

Tago Mago

Part 1

Part 2




All songs written by Karoli, Czukay, Liebezeit, Schmidt and Suzuki

1. Paperhouse - 7:29
2. Mushroom - 4:08
3. Oh Yeah - 7:22
4. Halleluhwah – 18:32
5. Aumgn – 17:22
6. Peking O - 11:35
7. Bring Me Coffee or Tea - 6:47

Ghost Hypnotic Underworld

I really don't have a whole lot of knowledge about Ghost except that they formed during 1984 in Kyoto, Japan. It's been noted that the band led a nomadic lifestyle in Tokyo and set up living quarters in abandoned subway stations as well as ancient ruins.

There have been some line up changes over the years, but core contributor, Masaki Batoh, still remains current as well as the founding member.

You can find much of their catalog on Drag City Records. Those who take interest in psych, experimental, acid folk, progressive rock should enjoy this group.

Hypnotic Underworld

Part 1

Part 2

Part 3



1. Hypnotic Underground Pt. 1: God Took a Picture of His Illness on This Ground – 13:31
2. Hypnotic Underground Pt. 2: Escaped and Lost Down in Medina – 7:09
3. Hypnotic Underground Pt. 3: Aramaic Barbarous Dawn – 2:54
4. Hypnotic Underground Pt. 4: Leave the World! – 0:22
5. Hazy Paradise – 4:52
6. Kiseichukan Kite – 5:03
7. Piper – 6:41
8. Ganagmanag – 10:04
9. Feed – 7:06
10. Holy High – 6:09
11. Dominoes/Celebration for the Gray Days – 6:43

Horace Andy: Dance Hall Style

"My music supports social and political awareness of minority groups and underpriveleged communities around the world. I have never encouraged hatred or violence against any group in society. I hope to help bring communities together through my music."

Born February 15th, 1951 in Kingston, Jamaica, Horace was raised and involved in what one would call Roots Reggae.

Myself, I wasn't really too into Reggae growing up. Granted, few songs would surface to the mainstream via soundtrack or re-release that I would enjoy. Then there was punk from the late 70's and early 80's(mostly Britain) who took notice of Sound Systems and started to use it as influence. Most notable for that would be the Clash. They themselves could put out an entire record of covers that were Reggae, Dub, Dance Hall, etc.

Dub and Dance Hall was what grabbed my attention. Over time, I really enjoyed sparse vocals, long and extended drum lines as well as bass. So naturally it spoke to me. Eventually, I just found myself playing Dub on my way to work, running errands, etc. It was easy, calm and just made me happy.

On this release, Horace had more involvement with instruments. He had much to do with the beats, bass, rhythm and lead guitar. I enjoy these versions of his classics a little more than a lot of his releases. I think the music compliments his falsetto vocals really well. This was also a great time for Wackie's Records/Studio(Bronx, NY), which was responsible for this recording and many others such as Jah T.

"Spying Glass" as well as "Lets Live In Love" are amazing tracks. If you enjoy this, do some research on Wackie's Releases, 70's/80's Reggae in NY and Jamaica.

Dance Hall Style



1. Money, Money - 6:17
2. Lonely Woman - 6:25
3. Cuss Cuss - 7:04
4. Stop The Fuss - 7:16
5. Spying Glass - 5:12
6. Lets Live In Love - 13:44

Television: Marquee Moon

CBGB staples and one of the most critically acclaimed groups of our time, Television didn't quite leave a huge commercial mark, rather a cult following.

Also noted as laying foreground to the post-punk era, Television also had been compared to the likes of a jam band. Some even went as far as saying that they were the Grateful Dead of punk. Thats stretching it a bit, even if it was 1977.

In 1973, Richard Hell along with Tom Verlaline, formed Neon Boys. Billy Ficca was added shortly after. In '74, Neon Boys disbanded. Later that year they reformed as Television.

This LP was released in 1977 on Elektra Records. Along side with Patti Smith Group, Ramones and Talking Heads, they remained a very prominent group in the late 70's. Not a bad era, if you ask me. It's my favorite and obviously many others as well. You can hear the influences in music today. Very popular music, even. Not a bad thing by any means. I'd much rather hear someone's take on "Venus" than, oh, "Bad To The Bone."

Marquee Moon




All songs written by Tom Verlaine unless otherwise indicated.

1. See No Evil – 3:53
2. Venus – 3:51
3. Friction – 4:44
4. Marquee Moon – 10:40
5. Elevation – 5:07
6. Guiding Light" – 5:35 (Lloyd, Verlaine)
7. Prove It – 5:02
8. Torn Curtain – 6:56

Brian Eno & David Byrne: My Life In The Bush Of Ghosts

Not only was, but still continues to be a mind blowing record, My Life In The Bush Of Ghosts also doesn't cease to amaze people who love recording/engineering stories.

You know, like how The White Album had several micro studios going at the same time because all members of the Beatles were spitting out songs every two mins. Or how Axl Rose had sex with then drummer Steven Adler's girlfriend in the vocal booth while tracking for "Rocket Queen." If you didn't know that already and I just ruined that song for you for good, my condolences.

My Life was recorded & engineered with all analog equipment. This also meant the samples. Obviously agonizing as it can be syncing without any digital technology, the accidents and mistakes proved to create new ideas and a whole new feel to what originally was planned.

Speaking of the samples, the "vocals" were primarly all samples. Another pioneering move that helped inspire several artists of random genre's down the road.. Avat-garde, hip-hop, Djing, etc. Much all pays homage to this release.

Another note would be Eno & Byrne's use of common items to replace parts of drums. A frying pan as a snare for a song, a cardboard box as a kick drum for another, it all helped create fresh sounds/tones that wasn't typicaly heard. Well, maybe early industrial, but we can save that for another article.

Try it. You might just enjoy it. Also, take note to the song credits. They're not your standard "vocals and synth by Dick McHerald."

My Life In The Bush Of Ghosts



All tracks written by Eno/Byrne except as indicated.

1.America Is Waiting (arr. Eno, Byrne, Bill Laswell, Tim Wright, & David Van Tieghem)Sample:"Unidentified indignant radio host, San Francisco, April 1980."

2.Mea Culpa, Samples:"Inflamed caller and smooth politician replying, both unidentified. Radio call-in show, New York, July 1979."

3.Regiment(Eno/Byrne/Busta Jones), Samles:"Dunya Yusin, Lebanese mountain singer. (From The Human Voice in the World of Islam, Tangent Records TGS131)"

4.Help Me Somebody, Samples:"Reverend Paul Morton, broadcast sermon, New Orleans, June 1980."

5.The Jezebel Spirit, Samples:"Unidentified exorcist, New York, September 1980."

6.Qu'ran, Samples:"Algerian Muslims chanting Qu'ran. (Same source as 3 (Tangent Records, above))"

7.Moonlight In Glory, Samples:"The Moving Star Hall Singers, Sea Islands, Georgia. (From The Moving Star Hall Singers, Folkways FS 3841). Produced by Guy Carawan."

8.The Carrier, Samples:"Dunya Yusin, Lebanese mountain singer. (From The Human Voice in the World of Islam, Tangent Records TGS131)"

9.A Secret Life, Samples:"Reverend Paul Morton, broadcast sermon, New Orleans, June 1980."

10.Come With Us, Samples:"Unidentified radio evangelist, San Francisco, April 1980."

Magnetic Fields: Strange Powers

I heard this song at a show last week pumping through the PA between acts. It had been quite a while since I last heard it and brought back some memories.

This morning as I was viewing my friends shared articles, there was one with the drummer/pianist Claudia Gonson of Magnetic Fields. The whole bit was about her boyfriend from when she was 15-19 and their mix tapes. She found one and it, too brought back some memories. As she put it, "some of the best songs ever."

I just thought it was ironic and it all came full circle.

Enjoy.

Magnetic Fields"Strange Powers"

PHONY01

Thanks to phony01 for the Shout o'oot!

UPDATE

The links to some of the files have been dismantled until Tuesday. Sorry if this bums you out for a second of two.

Also, all files will be up for one week only after it's initial posting.

Suggestions or requests are always welcome.

Tacos

David Bowie: Low

As mentioned in the Iggy Pop entry I placed a few days back, David Bowie was influenced by the current scene of Krautrock such as Kraftwerk and Neu!, that he was using the Iggy sessions as a genuine pig for his Berlin Trilogy.

The trilogy included the releases Low, Heroes & Lodger. Low was released in 1977 as well as Heroes. 1979 would see the release of Lodger.

Even if the influence for these was in the vein of the German scene at the time, it was still a stand out record. Very progressive and influential, even at an early date.

Often regarded as Bowie's post cocaine use era or depression/dark period, this album remains a favorite for not only the lyrical content, but the its forward thinking music structures/tones.

Like Iggy, most of you have favorite releases and era's. This happens to be mine. Especially after the Spiders From Mars imagery you seen in modern groups, art and design. With this release, there is no emulating it.

David Bowie: Low



All tracks written by David Bowie, except where noted.

1. "Speed of Life" – 2:46
2. "Breaking Glass" (Bowie, Dennis Davis, George Murray) – 1:52
3. "What in the World" – 2:23
4. "Sound and Vision" – 3:05
5. "Always Crashing in the Same Car" – 3:33
6. "Be My Wife" – 2:58
7. "A New Career in a New Town" – 2:53
8. "Warszawa" (Bowie, Brian Eno) – 6:23
9. "Art Decade" (Bowie, Brian Eno) – 3:46
10. "Weeping Wall" (Bowie, Brian Eno) – 3:28
11. "Subterraneans" (Bowie, Brian Eno) – 5:39

Please note that all files will be deleted one week from posting.

Public Image Ltd: Flowers Of Romance

This LP is on my "top 20 releases of all time" list. Reversed tape loops, trebly distorted guitars, prominent & heavily processed dual drumlines, amplified wristwatches, reversed piano and televised opera. This record has it all. But with no surprise, most people who heard this in 1981 didn't quite get it.

When I was younger and just starting to fully recognize punk rock, there was one group I could never really get behind. The Sex Pistols. Just could not handle it. Granted, they had a crucial existence in music. But I think their existence proved worthy only due to who they influenced down the road. Such as Joy Division, The Buzzcocks or The Clash. I'm sure I will make a few more enemies by stating that. But what can you do?

The record that introduced me to PIL was the metal box set. I would stare at it day to day at my local record store. Finally, a friend purchased the CD format of it. I was very pleased, but still not fully sold on them. Until I heard Flowers Of Romance.


For a minute there, I was trying my best to find the most obnoxious, obscure, far from commercial "sound" as I could. This release fit perfectly in that void of my music library. Already enjoying the likes of Nick Cave and the Bad Seeds, Birthday Party and Neaubauten, I was blown away that I could one day say"yeah...I actually like a John Lydon band!"

If you've been turned off by John's banter, be it in random press and televised performances, just try and put it aside. Trust me. Just pretend that guy is someone different all together. Although, now that I think of it, there have been some pretty amazing banters/explosive attitude in some televised interviews. Nevermind.

But don't take MY word for it. Let this release speak for itself.

Public Image Ltd. Flowers Of Romance



All songs written by John Lydon/Keith Levene except * by Lydon/Levene/Martin Atkins.

1. "Four Enclosed Walls" – 4:44 *
2. "Track 8" – 3:15
3. "Phenagen" – 2:40
4. "Flowers of Romance" – 2:51
5. "Under the House" – 4:33 *
6. "Hymie's Him" – 3:18
7. "Banging the Door" – 4:49 *
8. "Go Back" – 3:46
9. "Francis Massacre" – 3:31
10. "Flowers of Romance (Instrumental)" Bonus CD track
11. "Home Is Where the Heart Is" Bonus CD track
12. "Another" Bonus CD track

This Heat: Self Titled LP

What we have here is the debut LP from London's This Heat which was released in 1978 on Rough Trade Records. The group consisted of Charles Bullen, Charles Hayward & Gareth Williams.

One stand out character of this group would be that each member was a multi-instrumentalist. For instance, on this release, Charles Bullen is credited for playing guitar, clarinet, viola, vocals & tapes. Charles Hayward handled drums, keyboards, vocals, tapes & finally Gareth utilized keyboard, guitar, bass, vocals as well as tapes.

Formed in 1975, This Heat stood out like no other partially due to it's highly innovative take on progressive rock or even punk. While throwing in various genre influences, they were also pretty abrasive as well as very politically charged.

Eventually splitting in 1982, members went on to form the likes of Camberwell Now & Lifetones.

This is a great LP to have in your post-punk, noise-rock, progressive rock collection. Slap whatever title you want on it, it's still going to be what it is. Far ahead of it's time.

This Heat Self Titled



1. "Test Card" – 0:47
2. "Horizontal Hold" – 6:56
3. "Not Waving" – 7:26
4. "Water" – 3:10
5. "Twilight Furniture" – 5:06
6. "24 Track Loop" – 5:57
7. "Diet of Worms" – 3:09
8. "Music Like Escaping Gas" - 3:40
9. "Rainforest" – 2:55
10. "The Fall of Saigon" – 5:10
11. "Test Card" – 3:11 * Bonus Track

Amon Düül II: Phallus Dei

This is the debut LP for Amon Düül II after splitting with the "Amon Düül commune" in Munich, Germany. It's been said that the split was partly due to some of the original Amon Düül's members "incompetence." An excerpt from their Wiki page states this about the commune:

"Amon Düül began in 1967 as a radical political art commune of Munich based artists calling themselves, in part, after the Egyptian Sun God Amon; Düül has been cited as a character from Turkish fiction.

The commune quickly attained cult status for its free form musical improvisations, usually performed around the happenings and demonstrations of the contemporary politicized youth movement. The orthodoxy within the commune had a highly liberal attitude to artistic freedom, valuing enthusiasm and attitude over artistic ability; membership was fluid; anyone who was part of the commune was part of the group. However a faction within was more ambitious, conventional and musically structured, leading to the inevitable split within the collective, which separated in 1969 into the components "Amon Düül I" and "Amon Düül II"."

Considered a "cornerstone for German psychadelic music" due to it's unique sounds, layers and vocal styles. Challenging for many people, but definetly worth checking out. Especially if you take interest in how "micro genre's" split and branch off, influence others and so forth.

Phallus Dei




1. "Kanaan" – 4:02
2. "Dem Guten, Schönen, Wahren" – 6:12
3. "Luzifer's Ghilom" – 8:34
4. "Henriette Krötenschwanz" – 2:03
5. "Phallus Dei" – 20:48

Silver Apples: Contact

Here's the second album, Contact, by Silver Apples. This was released in 1969 on KAPP Records just like the previous release. Since 1997, you can purchase it as a companion to the self titled on CD through MCA Records. It was also re-released on a UK label called Radioactive Records in 2003.

A couple interesting facts about this release:

Silver Apples faced a lawsuit from PAN AM due to the LP art. It featured Simeon and Danny in a cockpit of a PAN AM airplane with drug paraphernalia. The inner art showed the two amongst a plane wreckage as well. PAN AM then sued the Silver Apples for $100,000. With that and KAPP Records folding to MCA, the band called it quits at the end of 1969.
Rocket From The Crypt covered the first track"You & I" on a rare 3 CD compilation.

The tracks "Ruby" & "Confusion" features Simeon playing a Banjo.

I enjoy this record as much as the first, to be honest. Some just think of it as an extension of the self titled, which makes sense.

Dive into this one this weekend.

Silver Apples Contact



1. "You and I" (Silver Apples, Simeon, Cecil Taylor) 3:24
2. "Water" (Silver Apples, Simeon, Taylor) 4:18
3. "Ruby" (Joy May Creasy, Silver Apples) 2:32
4. "Gypsy Love" (Silver Apples, Simeon, Stanley Warren, Cecil Taylor) 5:36
5. "You're Not Foolin' Me" (Silver Apples, Simeon, Taylor) 6:26
6. "I Have Known Love" (Eileen Lewellen, Silver Apples, Simeon, Taylor) 3:53
7. "A Pox on You" (Silver Apples, Simeon, Taylor) 5:11
8. "Confusion" (Silver Apples, Simeon, Taylor) 3:34
9. "Fantasies" (Silver Apples, Simeon, Taylor) 5:57

Iggy Pop: The Idiot/Lust For Life

Everyone has heard his name. In one way or another, you have to respect him. His early solo career, mostly pioneered by David Bowie(at least these two LP's)was, at the time, viewed as neutral at best. Mostly regarded as "creative/musical freedom, yet not fully convincing" by the likes of Rolling Stone and NME. But to fans, these were masterpieces. How can you argue with bands like Joy Division, Depeche Mode or even NIN citing these as "crucial releases."

To us fans, we say "fuck that." No matter what outlet you discovered him through: The Stooges, Bowie, Tin Machine, Trainspotting, etc, it had all lead back to these 2 records, in my opinion. Kinda like that "6 degrees of Keven Bacon game."
The background alone on these two records are sketchy at best. Granted over the years proper "credits to musicians played on the albums" and "purposes/inspirations for the songs/records" have surfaced, references are still misinformed or misguided, if you ask me. Bowie, in recent interviews, admits to "using Pop as a guinea pig to help me come up w/material for my German influenced trilogy."

Regardless, his music is timeless and to this day still receives much appraisal. Give them and try and see what people have been talking about for just under 31 years now.



Lust For Life

1. "Lust for Life" – 5:13 (lyrics: Iggy Pop, music: David Bowie)
2. "Sixteen" – 2:26 (Pop)
3. "Some Weird Sin" – 3:42 (lyrics: Pop, music: Bowie)
4. "The Passenger" – 4:44 (lyrics: Pop, music: Ricky Gardiner)
5. "Tonight" – 3:39 (lyrics: Pop, music: Bowie)
6. "Success" – 4:25 (lyrics: Pop, music: Bowie, Gardiner)
7. "Turn Blue" – 6:56 (lyrics: Pop, Walter Lacey, music: Bowie, Warren Peace)
8. "Neighborhood Threat" – 3:25 (lyrics: Pop, music: Bowie, Gardiner)
9. "Fall in Love with Me" – 6:30 (lyrics: Pop, music: Bowie, Hunt Sales, Tony Sales)




The Idiot

All tracks written by Iggy Pop and David Bowie except where noted.

1. "Sister Midnight" (Pop, Bowie, Carlos Alomar) – 4:19
2. "Nightclubbing" – 4:14
3. "Funtime" – 2:54
4. "Baby" – 3:24
5. "China Girl" – 5:08
6. "Dum Dum Boys" – 7:12
7. "Tiny Girls" – 2:59
8. "Mass Production" – 8:24

Silver Apples

I was first introduced to Silver Apples nearly 10 years ago from a close friend. Clearly blown away just by it's unique sound and the fact that it came from 1968 NY, I began my hunt for this gem on vinyl. Shortly afterwards, I payed a visit to NY and was staying with another close friend who happened to have it on wax. Jealous, I asked "where would I find a copy in town?" I don't recall the name of the store off hand in Manhattan, but he brought me to it.

"I have so much credit at this store. I usually come in town(he lived in Jersey City)after I walk the dogs and just trade in/swap out LP's. You should find one there."

And yes, I did. An original copy in amazing shape, with the poster inside still......for $100.

One big frown on me!

Since then, I've seen it in random stores. Never in great shape, sadly.



Back to Silver Apples.

They "formed", rather turned into the Silver Apples after the demise/fall of The Overland Stage Electric Band. Simeon Coxe III essentially drowned out the rest of the group with his 1940's audio oscillator and they eventually left the group. This left Simeon only with drummer Danny Taylor and the Silver Apples took shape.

This is their debut record which was originally released on KAPP Records, which folded under MCA shortly after.

What really made the group unique was their equipment and what they used live. A quote from their Wiki page:

The arsenal of oscillators used eventually grew, according to their first LP liner notes, to include "nine audio oscillators piled on top of each other and eighty-six manual controls to control lead, rhythm and bass pulses with hands, feet and elbows". Simeon devised a system of telegraph keys and pedals to control tonality and chord changes, and reportedly never learned to play traditional piano-styled keyboards or synthesizers.

Give this record a try. Better yet, if you find a copy, but it!

Silver Apples Self Titled LP.



1. "Oscillations" (Danny Taylor, Stanley Warren) 2:48
2. "Seagreen Serenades" (Simeon, Warren) 2:55
3. "Lovefingers" (Simeon, Warren) 4:11
4. "Program" (Simeon, Warren) 4:07
5. "Velvet Cave" (Simeon, Warren) 3:30
6. "Whirly-Bird" (Simeon, Warren) 2:41
7. "Dust" (Simeon, Warren) 3:40
8. "Dancing Gods" (Navajo Indian Ceremonial) 5:57
9. "Misty Mountain" (Eileen Lewellen, Simeon) 3:26