19.9.17

Banksy Basquiat Barbican



Cycled past these at 8.36am on the way to work at the foot of Golden Lane.

His critique of the municipalisation of art innit.

Just noticed the crown! Should have nicked that.

[update]

Ok, I'm a little uneasy about this because it's possible that this the work of a local artist - a homage. But here it is...


From the Londonist:

18.9.17

C'est Normale



 Areski! What's the matter ? - Did not you hear something weird? "Yes." "What is it?" - It's gas. It's the gas in the apartment below. Sometimes there's leaks, so it accumulates, then if there's a spark it explodes. It's normal ! - Ah. "And who says explosion," said detonation. Hence the noise you heard just now. Ah! La la la..

Say? - What? "Do not you think you're burnt?" - Yeah, it's normal I explained. There was an explosion. - Yes. - And the molecular agitation due to this explosion - What? ... Molecular agitation. Ah yes. - Provides sufficient thermal rise to ignite the surrounding materials. - Yes Yes. - That's what we call combustion. It's normal ! - Ah. - You understand ? - Yes Yes. La la la ... - But then ... but ... La la la ...

What did you want? La la la ... - There I wanted to know ... The whole building, it is burning, is that right? - Yes, listen. The materials used in the construction of this building are very fragile. You understand ? - Yes. That is normal because in any case there are only working families and immigrants and some unproductive people. - Yes. Then the fire easily seizes the matter. - Yeah. - It's spreading. So we are in the presence of a fire. - Aaaah. a fire. - It's normal. - Yes Yes Yes. - Yes ? - Okay.  The la la ...

 Areski! - What is it again ? - Do not you feel as if you were starting to fall, there, a little ...? - Listen ... Listen ... - Yes. - Try to understand, it's very simple. - Yes. - You remember burning? - Yes. - The destruction of the building by the flames? - Yes. - Good. It means that below it, the walls and the floors disappeared. - Hum. And that we are no longer sustained by anything. - Yeah. Now a thing which is no longer sustained by anything falls. This is called gravity. It's normal ! - Yeah, yeah. La la la ...

But then ... we're going to fall ... - Yes. - On the 15th floor? - This is completely normal. - That's the earthly attraction. - Okay. La la la ...

Ares, excuse me - What? What? - I'm sorry, but I'm thinking about something. - We do not know- Brigitte, you're tiring!  Sorry. - So we're falling.  Yes. Now every body falls at a definite speed. - Yes. - And on reaching the ground it undergoes a violent deceleration which brings about the rupture of its various components. For example, the members separate from the trunk. - Yes. The brain springs out of the cranial box, etc. - Yeah. - In these conditions of disconnection, it is obvious that the phenomenon of life can not be maintained, it is NORMAL, you understand? - Yeah ...

17.9.17

Field Recordings














Potentially volumes could (and have) been written on this stuff. A big nod must go to Richard Henderson's Field Recordings Primer in The Wire of February 1998. Henderson's selection is near perfect because he concentrates on what is WEIRD, the "other", music from a gone world.

That primer sent me scurrying off to find these LPs - if that sounds superficial, in fairness to me (before the days of Discogs) I had to toil in record shops looking for them. I think I own every one he names now. A few, like the Gbaya and Aka pygmies recordings and the Music In The World of Islam I had beforehand. And I've added a couple of selections here too - the lovely Mandang New Guinea recording which David Toop put out on his Quartz label - and really for its rhizomatic function the Brian Jones Joujouka LP.

I've taken the unusual step of including two tracks from four of the LPs. This isn't actually because I have any shortage of these field recordings. Over the years I've acquired many many. It just felt right. So often these wonderful collections cover massive sonic territory.

Obvious "hits" include "Abu Zelef" (sampled on "Regiment" on My Life In The Bush of Ghosts), "Ketjack (excerpt)" and "Clementine". The story with the latter goes that Colin Turnbull was ushered in front of the village elders to hear their oldest and most cherished "secret" song - and whaddayaknow it's "Clementine". That tells you all you need to know about authentic music.

-

Savannah Rhythms: Bob Dyula Tribe - Allah Man Dogo
Tantras of Gyuto - Mahakala
The Pygmies of The Ituri Forest - Songs of the Alima
Aka Pygmies -  Deux Chantefables l'Oiseau
Aka Pygmies - Danse Après Avoir Tué un Éléphant (Monzoli)
Turkano Indians of Colombia - Elders chanting origin myths
Musique Du Burundi: François Muduga - Chant avec cithare
Musique Du Burundi: Tambours royaux  - Ingoma
Music In The World of Islam: Dunya Yunis - Abu Zeluf
Music from the morning of the world: Sekehe Senggong - Frog Song
Music from the morning of the world: Gamelan Angklung -Ketjack Dance
Pêcheurs De Perles Et Musiciens Du Golfe Persique - Chants Des Pêcheurs De Perles, Muhamaq (Bahrein)
Music of the Rainforest Pygmies - Honey Gathering Song
Music of the Rainforest Pygmies - Clementine
Sacred Flute Music From New Guinea - [Jarvan] Awar
Musique Gbáyá / Chants À Penser - Naa-Kore
Brian Jones presents the Pipes of Pan at Joujouka: Master Musicians of Joujouka - Joujouka


Music Of Africa Series








Music In The World Of Islam







9.9.17

Cybore New Orleans Selection



I put this selection together around 2009 when I was doing the Cybore blog.

I first got into this music through Lee Dorsey and The Meters. Lee Dorsey probably came from following The Clash so closely (who co-opted Lee) and I had a great Dorsey Charley compilation which Joe had done the liner-notes for. The Meters came through the sampling era of Hip-Hop when they were at the end of every fork. They play on a number of these tracks.

There's something completely timeless about this era of New Orleans Soul and R'n'B. You won't necessarily agree me with me but most Soul has dated very badly. I combed through the Stax, Motown, Chess and Atlantic catalogs last year and the paucity of really great material was shocking. Booker T and the MGs vs The Meters - I mean, c'mon, The Meters absolutely crush the MGs. And what's more you can hear The Meters clearly in the Upsetters.

Slight nod to Greil Marcus here with Benny Spellman's "Lipstick Traces" and Lloyd Price's "Stagger Lee" - in case you never heard these.

RIP Allen Touissant.

Lipstick Traces - Benny Spellman
Tipitina - Professor Longhair
You Talk Too Much - Joe Jones
Pop-Eye - Huey Smith
It Will Stand - The Showmen
Sick and Tired - Elton Anderson
Barefootin' - Robert Parker
Rocking Pneumonia And The Boogie Woogie Flu - Huey Piano Smith & The Clowns
Love Lots of Lovin' - Lee Dorsey and Betty Harris
Don't Pity Me - Curly Moore
Stagger Lee - Lloyd Price
Ruler Of My Heart - Irma Thomas
I'm Gone - Shirley & Lee
Don't You Just Know It - Huey Piano Smith & The Clowns
I Like It Like That (Parts 1 & 2) - Chris Kenner
Te Ta Te Ta Ta - Ernie K-Doe
Don’t You Know Yockomo - Huey Smith
I Don't Need No One - Willie & Allen
Gonzo - James Booker
Ooh Poo Pah Doo (Part 1) - Jessie Hill
I Love You - Elton Anderson
Iko Iko - The Dixie Cups
Here Come The Girls - Ernie K-Doe
Ain't Got No Home - Clarence "Frogman" Henry
Over You - Aaron Neville
Ya Ya - Lee Dorsey
Ooh Poo Pah Doo (Part 2) - Jessie Hill
Cha Dooky Doo - Art Neville
Mother-In-Law - Ernie K-Doe
Lawdy Miss Clawdy - Lloyd Price

And one more for good luck:

8.9.17

albumtour

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7.9.17

Holger


We thought you would live forever. And we were right.

Great pieces by Andy Beta and Kek-W.

3.9.17

Mixcloud Takedown Request

Hello, 
We received a Copyright Takedown Notification for a track within one of your shows
https://www.mixcloud.com/woebot/remember-youre-a-woble/
 
Kanye West - Black Skinhead 
While we hope to convey the value of Mixcloud to all partners, some artists, labels or publishers can request to takedown tracks which they own the rights to. 
As an open user-generated platform for radio shows, we must respect these requests and have disabled the track within your show. 
We will continue to work hard towards a solution that everyone is happy with. 
Mixcloud Team
I thought Mixcloud had this thing licked, but it seems not. That's why I left Soundcloud! Though I quite liked the way they just snuck in and edited it out themselves, like a personal service almost. I don't suppose it happens all that often.

Delusional. And for about a split second I thought "Hot Damn, Kanye's finally after me!" As though he'd taken personal offense over my comments about him on this here blog and decided to mete out a little justice. Lol. Of course, it's just data...

 That's one mistake you make thinking about "stars" - as though they are individuals. Kanye West is just the name of a big business (comprising many business and crafts people) headed up by some guy who in all likelihood doesn't even run his own show.

Meu Brasil


The clouds are darkening and the children are heading back to school. Suddenly it feels like the Summer is over, a Summer which for me has been dominated by old Brazilian music. It's inevitable I'll start listening to other things but rather than letting the moment slip I thought I'd round up my absolutely favorite pieces and make a mix of them.

I had thought that after this mix culled from Richard Klein's faves that I cobbled together on Spotify that I wouldn't have anything to add. Then it occurred to me that those were essentially "deep cuts" and that to do a faves would mean no duplication whatsoever. I found myself digging out tracks I hadn't heard in well over a decade.

One final note. Some friends find this music too smooth. At its best it is evidently a smoothness begotten from a harsh environment. For me it's all about the truth of the emotions. That's the harshness I like, one formed naturally by an unvarnished veracity, not an affected coarseness. I couldn't question these truths.

Quarteto Novo - Algodão
João Gilberto - Undiú
Tom Jobim - Águas de Março
Os Ritmistas Brasileros - Baiao
Caetano Veloso - Tropicália
Os Mutantes - A Minha Menina
Chico Buarque -  Construção
Caetano Veloso - Irene
Tom Zé - Dor e Dor
Gilberto Gil - Aquele Abraço
Jorge Ben - Ponta De Lança Africano (Umbabarauma)
Tom Zé - Doi
Jorge Ben - Zumbi
Tom Zé - Mã
Walter Franco - Xaxados E Perdidos
Antônio José Santana Martins - Complexo De Épico
Milton Nascimento & Lô Borges - Paisagem Da Janela
Lô Borges - Eu Sou Como Você É
Gilberto Gil - Refazenda
Os Novos Baianos - Preta Pretinha
Lô Borges - Toda Essa Água
Edu Lôbo - Viola Fora Do Moda
 

26.8.17

Tom Zé Story

In 1960, some members of the village arranged for Zé to appear on a popular TV talent contest called Stairs To Success. Despite having never seen a TV set before, he travelled to the show to perform, though when he arrived no one was expecting him. Thankfully they let him play anyway, with Zé performing a song called "Rampa Para O Fracasso" ("Ramp To Failure").
Great story from writer Paul Sullivan. 24-year-old Zé blags his way onto a TV show called "Stairs to Success" with a song entitled "Ramp To Failure".

Tom Zé: Estudando A Bossa [Nordeste Plaza]


Combing through hundreds of old Brazilian tracks unexpectedly ignited my passion for Tom Zé. In fact, riding the zeitgeist like a slack-jawed surfer, I had caught the first wave of enthusiasm for Zé which coalesced around the rediscovery of the Tropicalia movement. I dutifully picked up the Luaka Bop "Brazil Classics 4" compilation but can't have properly engaged with it - listening back the material is good, but it unnecessarily butchers Zé's great works. In fact I even saw Zé play with Tortoise at the Barbican in April 2001. Yeah, that was OK, a bit long-winded though I remember.

The Tropicalia connection is a red herring. Tom's first, Tropicalia LP is decidedly average. Barring the stunning "Jimmy, Renda Se" the second LP in 1970, by which time Tropicalia was receding in the rear view mirror, is only good. My guess is that come 1972's utterly divine "Se o Caso é Chorar" commercial expectations for him must have shrunk drastically. Embracing this ignominy, the hermit drive engulfed him for the darker, compulsively eccentric "Todos Os Olhos" (the cover famously features a marble placed over an asshole) in 1973 and the community woodshedding of "Estudando O Samba" in 1976. These last three I'd rate as highly as any three-run sequence of LPs in the history of recorded music. They are up there with Are You Experienced/Axis/Electric Ladyland or Tago Mago/Ege Bamyasi/Future Days or Pink Flag/Chairs Missing/154 or More Songs/Fear of Music/Remain In Light. Really.

Specifically it was hearing the menacing "" afresh which sent me on a massive tour (binge?) through Zé's discography. I listened to nineteen of his LPs and past these first five it is, while a consistently interesting body of work, perhaps disappointing. This album from 2008, however, generally lightly dismissed, is an absolute gem. The LP was pitched as Tom's study of Bossa Nova and timed "on the hook" for the fiftieth anniversary of 1958, the year that was a watershed for Brazil's status in the world with its first world cup win and the musical revolution of João Gilberto’s “Chega de Saudade”.

Tom's brutal, modern, ugly-as-beautiful music of the ensuing decades, certainly the music of Tropicalia itself, was often styled as a two-finger salute to Bossa Nova's supposedly smooth café stylings. The truth is more complex however, and certainly with regards to João Gilberto, the icon who could justifiably be described as "being" Bossa Nova. Listen to the utterly spellbinding and silently insane "Chega de Saudade" and 1973's eponymous LP (produced by Walter Carlos!) and judge for yourself. This is extremely weird and brilliantly intense music. This LP, subtitled Nordeste Plaza after a shopping mall in São Paulo called "West Plaza" which was laconically renamed by locals after it became full of migrants from the countryside, is in fact Zé's channeling of the true spirit of Gilberto.

Utterly brilliant tune after brilliant tune - it has that same lovely perceptual blurring of track from track that reminds me of listening to records like Dinosaur Jr's "You're Living All Over Me" or Talking Heads "77". Where it takes repeated listening to just discover the discrete units. OK, so the details of the meanings in Portuguese are completely lost in me but I have an ingrained fondness for Portuguese voices and that spoken language's specialised pronunciations, all those (what sounds to me like) crushed consonants and sliding vowels, especially women's voices which I find irrationally bewitching (hey, it worked for Carmen Miranda and Astrud Gilberto). Given the almost total absence of enthusiasm for the record, perhaps my delight in it must be somehow misplaced? But no, I think not. A future classic.

25.8.17

SPOTIFY POP PLAYLIST



Mainly 2017. A couple of older tracks.

Pop used to be a catch-all term for the insanely mixed bag of stuff that rode up the charts every week.  More and more though, as the global market-place for music contracts, it has become a genre on its own terms like, for instance, "Drum and Bass" is a genre. You can hear unmistakeable sonic markers. And surely that's why creepy pop interlopers like Hannah Diamond and (here) Tommy Genesis slot right in with nary a blip - where ten years ago someone would be making a massive deal about it. Or summat...

Big faves here must be "Pretty Girl" (irresistible) and the mini-Sinatra Charlie Puth's "Attention" - slamming bass line dude.

20.8.17

Trojan Compilations of the Eighties

Before the torrent of Reggae reissues in the nineties and noughties courtesy of Blood and Fire, Pressure Sounds and Soul Jazz the main people reissuing roots were Heartbeat, Greensleeves and, naturally, Trojan.

Thinking back to my teenage years these compilations and their pop-art simplicity (frequently courtesy of the Intro Design studio where I would work on and off years later) definitely "imprinted" on me. 


This, from 1981, was given to me by the advertising director Steve Lowe. He is the magically funny guy who made the legendary Maxwell commercial featuring Desmond Dekker's "Israelites". This was definitely put together with 2-Tone fans in mind.


And this great LP, almost a mixtape, I was hipped to it by the great Reggae Discography by Ed Ward in The Rolling Stone Illustrated History of Rock'n'Roll (a book I stole off my friend Francis). Definitely worth hunting that article down, indeed the whole book is excellent...


I picked this up in the original FOPP in Glasgow. The Tighten Up Series came out in the seventies but here the first three were stuck in one box. I remember caning this and Big Youth's "Dreadlocks Dread" at a very early student party in the city. One of those moments when it became clear I might actually have some fun in the city. Nice Luke Sutherland bouncing around.


Compiled by Chris Lane - a fascinating guy who went knocking at the Black Ark studio years before anyone else and ended up living there for a period with Scratch.



Two more single artist compilations. This Big Youth one especially fantastic with lots of rare cuts.



Two very nice DJ compilations.




The three Upsetter box sets. Before the Lee Perry reissues got under way these were like manna from heaven.






And these last five from "The Producers Series". The Joe Gibbs and Clancy Eccles I knew at the time from friends. The Niney and Keith Hudson I would look at covetously in record stores. The Lee Perry one I've always had - a great comp.