Showing posts with label [Mp3s killed the vinyl DJ]. Show all posts
Showing posts with label [Mp3s killed the vinyl DJ]. Show all posts

31.10.11

Mp3 Killed the Vinyl DJ 15: The Spooks


Ah, Hallowe'en… Cool for kids, but for adults, Hallowe'en merely caters to conformists who think they're being «crazy» by not conforming to standard measures of propriety by—that's right—conforming to the expectation that they get dressed up for Hallowe'en.

«Toilet Guppies,» I hear you think, «you think too much.» And you'd be right. (Especially if I think I'm hearing your thoughts.)

The best remedy for thoughts, of course, is the moronic noise dredged up by Black Lips. In this case, the three original members of Black Lips in conjunction with members of Deerhunter and the Kiwis, for the silly Hallowe'en act the Spooks:


It's not Mozart. Or Black Lips, even. But the inept vinyl transfer you'll find above—of incompetently composed and performed songs from the Spooks' one and only album, 2009's Death from Beyond the Grave—is the closest Toilet Guppies will ever come to celebrating an obnoxious Anglospherical holiday. (Yes, Valentine's Day, you're next.)

Do me a favour and at least dress up in something wrong.

28.6.11

Mp3 Killed the Vinyl DJ 14: Hate Rock


A long time ago, Toilet Guppies posted a vinyl rip of «ksext», a menacingly sultry instrumental off Hate Rock's split 10" with Duke Garwood, Keep Mother, vol. 6. The levels on the rip, however, were a bit high (though not more in the red than on the vinyl release), so Toilet Guppies has ripped it anew. No need to have listeners startle every time the song comes on.

Desire is a necessarily unfulfilled state, requiring as it does something not yet had. As such there's a certain unhappiness to sex. A current of dissatisfaction—perhaps despair, bitterness or contempt even—that still carries within it a twinkling hope of fulfilment, even as it makes that fulfilment an impossibility.

This is as close as I can get to describing the emotional space that Hate Rock creates. Lust and dejection in equal measure. Hate Rock negate what they create. Or you could say they negate such a negation. (It's a chicken-and-the-egg type situation, whether the lust is sabotaged by despondency or despondency's alleviated by lust.)

Be that as it may, whether you've got a lust for life or a death wish, this music shows the interconnectedness of the two, giving you a reason to stay if you've got the latter, a dose of reality if you're feeling the former. Pleasure and loneliness, this is masturbation music.

Did I mention damn sexy?

21.6.11

Mp3 Killed the Vinyl DJ 13: The Entrance Band

[Download disabled. Mp3s of A-side & B-side now commercially available.]


Before singer-songwriter Kurt Vile grabbed the mantle as liberating one-man resistance movement against the emotional onslaught of demanding/annoying/soul destroying lovers (cf. the biting lyrics to «Heart Attack», «Dead Alive» and «Runner Ups»), Toilet Guppies' darling used to be Guy Blakeslee a/k/a Entrance, who was equally indomitable. But when this wailing, stomping, feedback feeding, banjo mangling freedom fighter went from soulful solo artist to fronting noodling bloos trio the Entrance Band, Toilet Guppies' man crush ended. Enter '70s funk rock riffage, completely unnecessary gee-tah solos at every turn, politically naïve lyrics calling for social change (see their ode to Martin Luther King, «MLK», worthy of a primary school essay, the likes of which we haven't heard since the superficial politics of soul music in the '70s—or that time Primal Scream sang their obituary for US civil rights legend Rosa Parks, only eight years before she was actually dead). All of the above relegated Entrance to irrelevance.

But earlier this year, Black Tent Press released the vinyl-only single «I Want You», b/w «A House Is Not a Motel», which vindicated Entrance and gives us hope that we may still expect terrific things from his camp.

«I Want You» is a cover of the Troggs' scuzzy garage rock classic, primitive to the point of brain death and absolutely brilliant as only the most basic can be. Blakeslee imbues, even elevates the original with his signature quaver of desperation and forlorn lust, as only he knows how. Blakeslee's voice will haunt you forever… Nice!

«A House Is Not a Motel» is a cover of one of the high points on Love's classic, but somewhat overrated Forever Changes record. You can't beat the original, but the Entrance Band brings it as close to doing just that as you could possibly expect. And there's hardly a guitar solo!

Fittingly for covers of '60s songs, these tracks are only available in the most annoying music format known to man, vinyl. If you're into such techno nostalgia, buy the 45 here. 500 copies only!


«I can't stand it alone on my own!»

8.4.11

Mp3 Killed the Vinyl DJ 12: Sonic Youth ∞ Locked Groove!


One of the areas in which post-punk was an improvement on punk lay in its willingness to look beyond nihilism. Artists like reformed hippie Michael Gira of SWANS and former Deadhead Lee Ranaldo of Sonic Youth weren't above contemplating eternity rather than oblivion. Sonic Youth saw noise as liberation, not as destruction per se. A positive more than a negative. Unlike grumpy punks, Sonic Youth and SWANS were about rapture, their ecstatic vision of sound psychedelic but for the '60s trappings of sitars, vocal harmonies and lyrics about smelling the purple of rectangles. At least punk had been good for something, stirring everything up after the old counter-culture had been coopted by the establishment and turned into a kitsch irrelevance, as hypocritical as it had become escapist.

In 1986, when Sonic Youth were still on a journey of discovery, they came out with evoL. On vinyl, of course. And with infinity on their minds, the last track was fitted with a locked groove at the end, the idea being that the drones finishing the song «Madonna, Sean & Me (The Crucifixion of Sean Penn/Expressway to Yr. Skull)» would go on forever.

Of course, the limitations of matter and physics, not to mention the impermanent nature of reality, ensure that it never could, whether it'd be the player or the needle or the vinyl or the energy source that would give first. But you get the idea. It's like, you know, conceptual. And fun. (Like the solo release by Lee Ranaldo where he'd punched holes in the vinyl at certain intervals, so that the needle would come crashing down on the surface of the turntable, creating jolts of shock noise.) To give you a feel for the song as it can only be experienced on vinyl, Toilet Guppies has ripped a 70 minute version. (One minute more would be excessive. No need to overdo things.) Note that if you do get through the entire thing in one, attentive sitting, you really should seek professional help.



But Toilet Guppies digresses again! Being 1986, postmodernism hadn't yet become the academic yawn it is today. And regardless of intellectual fads, Sonic Youth always did enjoy their references. «Madonna, Sean & Me» is no exception. (One might even say referencing and name dropping has been one of the band's career strategies, in order to position themselves as credible in an environment as commercial as it is artistic. Thus they've not only managed to garner acclaim by association, but even made friends through flattery. Clever bastards.) As for «Madonna, Sean & Me», the punk/hippie love/hate relationship is vented in a nod to Charles Manson's infamous connection with the Beach Boys («We're gonna kill the California girls»). Then there's Sonic Youth's familiar obsession with Madonna. How Sean Penn and Madonna's celebrity marriage connects to hippie murder I don't know. But I do know this: paying too much attention to Thurston Moore or Kim Gordon's lyrics is a waste of time.

evoL certainly is not.

16.2.11

Mp3 Killed the Vinyl DJ 11: Sister Grimm

Larkin Grimm: Selections from «Time Is a Spiral #2» 10" [.zip]

Here's a vinyl rip of the highlights from an obscure, vinyl-only EP by Larkin Grimm, recorded live in studio for the Dutch radio station VPRO in 2006. I've already written too many words, words, words about Grimm on this blog. Enjoy the songs:
3. «Little Weeper»
5. «Bollweevil»

11.1.11

Mp3 Killed the Vinyl DJ 10: Free Tonetta!

Tonetta: «Get It Going» b/w «Mmm Mama!» 7" [.zip]

Are you on Facebook™? Well, so was Tonetta, until they banished him, simply for being himself (sometimes herself). The only thing he ever did was post clips from his YouTube channel. (YouTube also excommunicated him once, but they let him back in. It just wasn't the same without him.) The images aren't even explicit, and there's no malice in his words, so what Facebook's problem is, is anybody's guess. Like YouTube, the social networking site should welcome him back, if not for good taste, then for the sake of free speech (and all that). There's enough gentrification in the real world, we have to clean up our virtual world as well? What would the Internet be without porn? (That was a rhetorical question, but the answer is: «Still just a military communications network.»)

Naturally, we can't have this. So to sneak Tonetta back in—through the back door, as it were—Toilet Guppies has created a Facebook Page© for the Facebook™ Tonetta Appreciation Society. Like™ it now, then share your favourite Tonetta videos, stories, thoughts, feelings, downstairs tingles and/or musically inspired bowel movements with like-minded individuals!



«Who is Tonetta?» I hear you ask. He's the finest 60-something recording pervert currently operating out of Canada, that's who, and probably the most prolific degenerate allowed to operate on a website owned by Google. (At the time of writing, Tonetta's YouTube channel contains 161 music videos.) He dresses up in what is obviously his house, not in fancy dress or high fashion, but in seemingly random get-ups (he's more a Lord Dada than a Lady Gaga) and sings about stuff that would go down very well in a kindergarten—when he doesn't sing about stuff that would go down well in a gay bar. He's the man, he's the shit, he's the man shit! Some scholar is bound to label him an «outsider artist», so let's nip that one in the bud right now by saying once and for all that Tonetta is not crazy, is not clueless, is not unintentionally funny, is not coincidentally good, is not some idiot savant. Tonetta makes rock'n'roll for the child inside. He kicks arse, grinning. He's the song in your throat as you sing in the golden shower. He's the twinkle in yer daddy's eye while your daddy is getting his feet tickled by a feminist transsexual. Perhaps his record label put it best when they said, «Very little is known of Tonetta.» To quote the Mighty Boosh: «Some say he once read the mind of a pelican and then fainted.»

Tonetta has one album out, 777, vol. 1. Black Tent Press are taking pre-orders for Vol. 2 now. They're very gracious; even though the albums are in vinyl format, you get a CD version with each purchase.

The exception is this release—a 7" with two non-album tracks, «Get It Going» and the spectacular «Mmm Mama!»:
You erupt my volcano
You simmer me down
You do all the things from dreams
Right through to reality
But fear not. These 192 kbps mp3s enable you to listen to the above tracks as you sit among the deviants on public transport, Tonetta's lascivious drawl cuddling your piqued ears as you begin to sense the secrets of the other passengers fill the air…



Of course, Tonetta is still on MySpace.

10.1.11

Mp3 Killed the Vinyl DJ 9: Larkin Grimm

Larkin Grimm & Rosolina Mar: 7" double A-side [.zip]

I thought this blog would be inactive by now. The plan was to upload everything I had that was rare, then kill the blog dead, leave it to the scavengers of the Internet. Alas, it's 2011 and I'm on it again, still. Sorry. I've been lazy, I know… slow at uploading what remains of bona fide rarities on my computer.

These two obscure A-sides, for example. It's because they're in vinyl. I hate vinyl, and I hate transferring it, so I've been putting it off. It's all too technical and time-consuming. I've not bothered to restore the sound. If vinyl is so fucking great and superior in sound, one shouldn't have to restore it… But you can't take your record player and vinyl collection with you everywhere you go, so here are 192 kbps mp3s for your listening convenience, crackle and all: two songs performed by the venerable Larkin Grimm, backed for the occasion by Italian trio Rosolina Mar.

The first track, «Los Angeles», is a cover of an Old Time Relijun song. You've never heard Grimm this rock'n'roll. (Larkin goes electric!) The second is an alternate version of Grimm's own «Anger in Your Liver». The Rosolina Mar-backed rendition actually beats the album version on Grimm's Parplar (itself one of thee albums of the noughties). It's a good'un, Rosolina Mar's spacious Americana backing taking you on a road movie through your immune system, as Grimm diagnoses you: «Trouble in your heart / Worry in your spleen / Anger in your liver, darlin' / Metal in your lungs». Still, Grimm's confident, almost triumphant (and certainly gorgeous) singing makes you think you'll be all right…

The real gem, however, is the B-side, the only proper studio recording of one of Grimm's most accomplished compositions, «The Butcher». The reason I haven't included it here, is that I'm not in the habit of stealing food out of the mouths of starving babes—the very same recording is available on the various artists compilation Leaves of Life, proceeds of which go to the World Food Programme, available on CD or as mp3s, sold separately. Get it now, you freeloading downloader; as well as the aforementioned must from Grimm & Rosolina Mar, it's got contributions by Devendra Banhart, Marissa Nadler and one of the members of Fire On Fire, one of Young God Records' house bands (kind of), which features heavily on the aforementioned Parplar. Speaking of which, go buy that album, too.

When writing about anything pertaining to Larkin Grimm—one of the best things to happen to music since banging rocks together—I tend to gush transcendental. Forgive me if I can't be bothered this time. Just listen to the music already.

12.10.10

Mp3 Killed the Vinyl DJ 8: Jana Hunter

Jana Hunter side of split LP with Devendra Banhart [.zip, 192kbps vinyl rip]

Jana Hunter occupies an odd space, not quite fitting in with the suburban-garden-goblin-gone-metropolitan-hippie-bohemian fantasy crowd, nor with more brooding singer-songwriters whose words dribble derision on the stock sentiment of «love & light.» In equal measure, there's something for nerds and something for Nihilists on Hunter's albums.

Although far more subtle than most exponents of Freak-Folk/Weird-Nu-Americana-whatnot, Hunter is one of its most remarkable artists—in part because she's more subtle. There's no sunny San Fran fluff here, nor contrived eccentricity; what there is, is a certain kind of mumbly murk that sets her work apart from sunshine psychedelia and willfully naïve folk, and is more reminiscent of, say, Skip Spence or Sly Stone (ca. There's a Riot Goin' On)—only without that nervous breakdown feel to it.

Yet it's not doom & gloom; there's humour, there's positivity. The good and the bad are inextricably interwoven, not separable at all in Hunter's recordings. Everything simply is as it is, as Hunter reports it without judgment, obsession or attachment. This may be the closest popular music gets to Buddhist mysticism, simply by virtue of the music just being itself, without contrivance. There seems to be no agenda, no message, no ambition, even. What you get is merely what it says on the tin.



Not that it's easy to read what it says on that there tin. Everything about the words and music seems to occupy the space in between the lines. There doesn't appear to be a commitment towards anything, and although that may sound boring, it's actually a kind of revelation, as Hunter tiptoes through a minefield of masculine hatred and feminine love, guiding you safely to somewhere you've never even thought about, where no one wants to crush, own, smother, penetrate, enter or subsume you. And surely, the sweetest embrace is a lullaby telling you (as on personal favourite «Black Haven») «to never, ever wake up»?

These tracks are all from an untitled, out-of-print, split vinyl-only album released in 2005 on Troubleman Unlimited, with Devendra Banhart on the other side. My transfer is a bit shoddy, I'll admit, but Toilet Guppies makes no excuses: This is what vinyl sounds like, and when they only released the material on this format, that's what you get. I'm not about to spend hours «restoring» music I bought new and mint on a supposedly superior format. These transfers are still far, far better than nothing. Or, if you're a Nihilist, damn near as good as nuthin:
  1. «Black Haven»
  2. «A Bright-ass Light»
  3. «Crystal Lariat»
  4. «That Dragon Is My Husband»
  5. «Laughing & Crying»
Don't forget to enjoy.

31.3.10

Mp3 Killed the Vinyl DJ 7: David Pajo

Papa M: «Orange World» [mp3]

When you've insomnia even in your dreams, you know it's time to put a lullaby on yer stereo. And what better lullaby than a song that's already dreaming, its sleepy voice guiding you through a beautiful, apocalyptic cityscape that exists uniquely in a mind, untouchable and unknowable to the rest of the universe, until the voice's drowsy monotony makes you drift away before the words have even finished? This soothing song by Papa M a/k/a David Pajo makes you feel safe in its arms. No harm ever came from the same place as this voice. Perfect if you need to catch up on your shuteye. Just come to Papa…

This unassuming, unknown little gem is from an out-of-print vinyl-only Tiger Style 7" split with Entrance, the other side of which you can download here.

Sweet dreams.

8.12.09

Net Nuggets 23: Animal Collective

[It all started so auspiciously, with life affirming rarities by the ever-ebullient Jorge Ben, but Toilet Guppies has since strayed and turned into a bit of a downer blog. So for today's post I've decided to put the «manic» back into «manic-depressive.» You're welcome!]

Animal Collective: «The Purple Bottle» versions [.zip]
  • The Purple Bottle (Stevie Wonder mix)
  • The Purple Bottle (acoustic live version)
In 2005, Animal Collective released one of those rare albums of perfection, consistently warm and touching from start to finish, Feels. One of the more up-tempo tracks—«The Purple Bottle»—originally contained Avey Tare singing a reference to the not-so-perfect yuppie stalker's anthem, «I Just Called to Say I Love You» by Stevie Wonder (real name Stevland(!) Hardaway Judkins). But the copyright gods wouldn't have it, so the collective released this particular mix of the song on a 7" only, limiting the run to 500 copies. The album contains an alternate, censored version, with no respect paid to outta sight Stevie. Who wants to be paid tribute to, I suppose, when they could be paid royalties?

While promoting Feels in Europe, parts of the 2005 AC line-up (Avey Tare and former múm frontwoman Doctess) performed some of the songs on French radio station Planet Claire. The stripped down version of «The Purple Bottle»—complete with any reference to one of the cheesiest songs from that cheesiest of decades excised—is intense, as I advise you to witness for yourself:



Enjoy the mania!

24.11.09

Mp3 Killed the Vinyl DJ 6: HTRK, Team Plastique, and △

HTRK: «ksext» [mp3]
[Download disabled, due to inferior vinyl rip. New and improved rip here.]

As mentioned earlier, Toilet Guppies is an accessory to the forthcoming new club night in Oslo, . Until one of us «discovered» funtastic electropunk cabaret sensation Team Plastique, resident DJ Sheik Yerdix entertained grandiose daydreams of getting hate rock trio HTRK to play the event, with Jonnine Standish patiently pummeling the trendies to a pulp with her slow and brutal bass drum, teaching us all a lesson:


That's not going to happen. Still, as HTRK is an inspiration their music may serve as a taste of what attitude to expect from the barely controlled chaos that is, for want of a better word, . Hear, then, this instrumental hate rock track from limited edition vinyl-only split EP, «Keep Mother» #6. You know the feel of it, you know the smell of it, the taste of it, and the look of it; now hear the sound of sex. «ksext» may not have the hallmark decadent singing of Ms. Standish—a voice that simultaneously exudes horniness and boredom, in equal measure—but that guitar is pure swampy, sweaty lust. (I think Nigel Yang's guitar just had an orgasm.) For those of us too young to have witnessed Suicide, the Birthday Party, Einstürzende Neubauten, SWANS or Teenage Jesus & the Jerks back in their late '70s/early '80s heyday, HTRK represent a rare hope that all is not bland.

As do certain other in-yer-face artists—such as the tits-out electro splosher nudists of Team Plastique, to make their first appearance in Norway in just five days! So catch them while you can:



Sjokoladefabrikken, Oslo on Saturday 28 November, from 10pm til late. Suckers stay at home, and only neuters attend other nightspots.

19.11.09

Mp3 Killed the Vinyl DJ 5: Mae West & Other Feral Femmes

While many Feminists seem to believe that sexuality caters to men, not women (because being an object of desire is seen to have less to do with desire, and more to do with being an object), some women embrace sex not because they're victimised or weak—or even because they want to exploit men's weaknesses—but simply because they're randy. When Mae West wrote her play Sex, landing her in court on obscenity charges, she didn't do so because sex sells. She was just a sexpot. The girl couldn't help it, and damned if she'd let some boring old farts—fragile, male egos and jealous female egos, both intimidated by a woman's sexual freedom and demands—stop her. What they objected to, of course, was that she went from being an object of desire to being a subject of desire. Worse: both at the same time!

Nothing can be hotter, of course, and no rhetoric from insecure patriarchs or puritanical Feminists will ever change that.

Toilet Guppies is currently in on organising a sexedelic electro burlesque event in Oslo (the first night to be held on Saturday 28 November), and certain locals—clubbers, trendies, party youths, no less—have voiced their disapproval at the news that a burlesque duo will be performing, perhaps baring it all. The effortlessly titillating Chiquita Bonita and Lucrezia La Bomba of Femme Ferale, who won Best New Troupe at the 2008 London Burlesque Festival, have agreed to entice and tease us with their playful and modernised burlesque act. Apparently, even the innocent tease of vaudeville strip is too much for the fragile egos of many young Norwegians…

But Femme Ferale have embraced their beauty, flaunting it as they have it, and have chosen to cultivate their self-esteem and -possession. They don't rely on the scraps thrown their way by sexually frustrated businessmen whose wives don't understand them, nor are they in any way limited by the violent control of brute mafiosi. They're merely sizzling hot. Why hide behind false modesty? So that their «sisters» won't feel so unappealing, boring and sexless as Femme Ferale command the stage? It's high time the general population of Norway is not hemmed in by some people's neuroses…

As with burlesque acts, Mae West was full of humour. Sex was about fun, pleasure, life, not about politics—unless we're talking the politics of fun, pleasure, choice. And so it is that one of the club night's resident DJs, Sheik Yerdix, has provided Toilet Guppies with a selection of 1966
recordings made by a 74 year-old West, backed by a teenage garage sensation (the aptly named Somebody's Chyldren!). Femme Ferale aren't your average burlesque troupe, residing in a nostalgic fantasy-land of safe tease, soundtracked by the same old exotica or '30s jazz, yet there's something of Mae West's assured attitude present in their slightly punked-up burlesque, so here you go. These are the highlights from Mae West's rare Way Out West, an album full of Dylan, Beatles and John Lee Hooker covers, as well as various garage standards—an album considered so negligible that it's never been reissued. But as these four tracks—and the obscene price Sheik Yerdix had to shell out for an original vinyl copy—prove, the combination of a sexed-up septuagenerian bombshell and a band of hormonal teen boys is as good an idea on vinyl as it was on paper.

Lighten up, Oslo, and prepare yourself:

Mae West & Somebody's Chyldren: Selections from Way Out West [.zip]

1. Treat Him Right
2. Boom Boom
3. Shakin' All Over
4. Mae Day

@ Sjokoladefabrikken, Stockholmgata 12, Oslo,
on Saturday 28 November.
Doors open 22:10. Entrance kr. 100,-.
RSVP Facebook.

15.11.09

Mp3 Killed the Vinyl DJ 4: KV

Kurt Vile: «He's Alright» 7" B-sides [.zip]

Last month, Matador Records released one of the most noteworthy albums of the year, Kurt Vile's Childish Prodigy. The CD and a limited edition 7" could be pre-ordered from Matador.

But once the record was released, iTunes started offering a version of the album with an extra bonus track available only if you purchase the entire album, from them. Similarly, subscription-only mp3 service eMusic now offers a different bonus track, exclusively available through them. (Provided you take up a subscription.)

Now, the Matador 7" has «He's Alright» for its A-side (a song that's available as a hidden track on all versions of the album, in all formats). The B-sides—«Farfisas in Falltime» and «Take Your Time»—are the mp3 exclusives, on iTunes and eMusic, respectively.

To re-cap: a terrific album is promoted by offering mutually exclusive exclusives that benefit the outlets, never the buyer (in a sense exploiting the artist in the process). While iTunes, eMusic and Matador make a marginal, negligible profit, Kurt Vile won't sell more copies of his album. Not less copies, either, but some of his songs won't be heard.

Unless you buy the 7", which you have to listen to at home, on a large and impractical apparatus that requires expensive maintenance and/or a costly model to run properly. And even then the songs will hardly benefit from the uneven tempo of the revolutions, the crackle of the dust, the wear of both the vinyl and the needle, &c. And that's only if you're lucky enough to get a copy out of the limited edition single. (I know, I know; vinyl isn't compressed like mp3s—but Kurt Vile is a lo-fi artist.)

Please do buy the album. With Childish Prodigy, Kurt Vile has given singing-songwriting a good name again. And it won't matter what format you buy the record in, or from which retailer, now that you can download vinyl transfers of the sometime-album tracks here.

And they're good tracks, too. They should be on the CD.

25.8.09

Mp3 Killed the Vinyl DJ 3: Devendra Banhart

  1. Untitled poem 2
  2. At the Hop (live)
  3. Little Monkey/Step in the Name of Love (live)
  4. The Good Red Road (live)
  5. Untitled poem 1

1 & 5—recited by Michael Gira—are from the limited edition vinyl-only double set of Rejoicing in the Hands of the Golden Empress and Niño rojo.

2 is the B-side of an out-of-print vinyl-only single for «At the Hop».

3 & 4 are from an out-of-print vinyl-only album split between Jana Hunter and Devendra Banhart. (The rest of Banhart's side—radio session takes of «In Golden Empress Hands», «At the Hop» and «We All Know»—can be retrieved here.)

18.8.09

Mp3 Killed the Vinyl DJ 2: Entrance

Entrance: «See for Yourself» [mp3]

The one-man band is a much-maligned artist, dismissed as a novelty busker clown outfitted in a particularly laborious and obnoxious percussive apparatus. But when Entrance a.k.a. Guy Blakeslee strapped bells to his boot and plugged in his back-feeding guitar, saying, «I know it's loud, but that's just the way it's going to be,» I was almost sold. And one long and loud, haunted, high-pitched blues cover to blow your mind (and blow dry your hair) later, I was his bitch forever. Shudder to think what it would've been like if he were backed by a full band…

That was at London's Institute of Contemporary Arts, opening for Devendra Banhart. Poor Devendra. As if suffering from some sort of funky food poisoning on a foreign continent on your birthday wasn't bad enough, he had to go on after a desperately wailing Entrance had ripped our ears and minds apart with his assault on electricity.

That was in May 2004, and I thought we'd see plenty more of this kid. Alas, Blakeslee continues to be one of the most underappreciated singer-songwriters to appear in the '00s. His last album was self-released, and until very recently he was selling bootlegs of his own stuff(!) on MySpace.

Long before that, in 2002, Tiger Style Records came out with an Entrance/Papa M split 7". Entrance's side, «See for Yourself», sounds like an outtake from debut album The Kingdom of Heaven Must Be Taken by Storm, complete with what was then Blakeslee's signature raga flamenco blues stylings. Typically, Blakeslee's lyrics come from an empathic urge to say what people don't want as much as need to hear, his brand of brutal honesty devoid of the vitriol that so often betrays a songwriter's true, underlying bitterness. With «See for Yourself» Blakeslee doesn't mince words, opting instead to show some tough love:

Destined to find only disconnection
Constantly caught at an intersection
See for yourself past your own reflection
And if you're so wise, see a new direction

One hundred times a day you try
To slow down time as it passes by
And though you fail and wonder why
There's nothing you can do but close your eyes
Go back to your dreams for now
Go back to your dreams for now

This vinyl-only single has since gone out of print, but not to worry: Too good to rot on the rubbish heap of popular music history, here's an mp3 of it. Enjoy!

8.8.09

Mp3 Killed the Vinyl DJ 1: Michigan Soul

The Northern summer had me forgetting it was summer at all, until suddenly the sun and warmth appeared again. The flame burns brightest before burning out, of course. Anyway, it seems only fitting to post some sunny music, after all that grim and bloody stuff Toilet Guppies has unleashed lately…

Earlier this year, on Tuesday 24 March, Uriel Jones—the last remaining Funk Brother—passed away at 74. The Motown house band in which he'd played drums had famously played on more number one hits than Elvis, the Beatles, Rolling Stones and Beach Boys combined. Not that that matters; their no-nonsense grooves surpassed that of the trucker in love with his dear ol' mama, the original boy band, the OAP rockers and those barber shop surfers, anyway.

This rarities comp isn't the best of the Funk Brothers, obviously, but it is the best of the Funk Brothers' stuff that has never been reissued on CD or mp3—the still unavailable tracks off of two 1971 albums, one by the Temptations, the other by the Undisputed Truth, both produced by visionary audio experimentalist, Norman Whitfield (who passed away in September last year).

In the documentary-as-tribute film, Standing in the Shadows of Motown, one of the Funk Brothers makes the contentious claim that it never mattered who sang on their backing tracks, so sure-fire stellar were they. An exaggeration, of course, but here both the singers of male vocal quintet the Temptations and mixed-gender trio the Undisputed Truth come off as somewhat dispensable. (Indeed, Motown and Whitfield would fire and hire singers at their whim, both bands going through almost unnoticeable line-up changes.) So in a sense, the stars here are the Funk Brothers, as well as arrangers Dave Van DePitte and Paul Riser—and maestro Norman Whitfield:

  1. It's Summer
  2. Ain't No Sunshine
  3. Ain't No Sun Since You've Been Gone
  4. You Got the Love I Need
  5. What It Is?
  6. California Soul
  7. Since I've Lost You
  8. Smooth Sailing from Now On
  9. Save My Love for a Rainy Day
  10. Like a Rolling Stone
(For the nerds:
1, 2, 5 & 8 from the Temptations'
Solid Rock.
3, 4, 6, 7, 9 & 10 from the Undisputed Truth's The Undisputed Truth.
All tracks 1971.)
Everybody needs somebody to hate, so no surprise that Whitfield—one of the writers of «Smiling Faces Sometimes» (only a paranoid song upon first glance) and «Papa Was a Rollin' Stone»—chose Bob Dylan's Schadenfreudian «Like a Rolling Stone» for the Undisputed Truth to record. The arrangement certainly misses the bite of the original, but it fleshes out the lyrics' sadistic (if somewhat sorrowful) glee with a sense of regret and paradoxical empathy, the song no longer an expression of loathing.

And for proof that the singers really weren't irrelevant—even when backed by the esteemed Funk Brothers—check out the Temptations' grooving along and playing off each other on the dreamy intro to their cover of Bill Withers' «Ain't No Sunshine».

Oh, and incidentally, Uriel Jones didn't even play on any of these two albums.