Archive for the ‘B-sides’ Category

One Man and a Blog…Machine

Sunday, March 24th, 2013

Sorry for the lack of updates last week. Life got crazy for a bit, and I lost an entire day because I had to transfer all my music to my new computer. And yo, when you have about half a terabyte of MP3s that shit takes some serious time.

I got good stuff planned for this week though! Check it!

Norman Cook
For Spacious Lies
For Spacious Beats
The Invasion of The Estate Agents
For Spacious Ballad
Norman Cook aka Fatboy Slim has gone by about a billion aliases (The Cheeky Boy, Sunny Side Up, Pizzaman, just to name a few) but this 1989 12″ single is one of the few to bear his actual name. It came out during a rather odd time in Cook’s career. He had left The Housemartins a few years before, but was still a year away from finding his first taste of success in the burgeoning dance scene as part of Beats International. He hasn’t yet found his “voice” as a producer/remixer/DJ, and it shows. The A-side “For Spacious Lies” is very generic by-the-numbers hip house, the kind of track made by someone looking to score with broad appeal. It’s rather boring.

Thankfully, Cook fared far better with the B-side “The Invasion of The Estate Agents.” It’s pretty much just the instrumental for Beats International’s cover of “Just Be Good To Me,”  an incredibly mellow bass groove with a Morricone sample built in. It works great, so great that Cook would later re-use the track as a the basis for his first hit single with Beats International, “Dub Be Good To Me.”

The Wee Papa Girls
Heat It Up (Adonis Chicago House Mix)
Heat It Up (Detroit House Mix)
Heat It Up (Extended Mix)
Heat It Up (Single Edit)
Heat It Up (Adonis House Instrumental)
The Wee Papa Girls are awesome. I already established this when I wrote about them before, first when discussing the Jive Presents Acid House LP, and then again when posting the Jive Presents In House album.

This time, however, they’re made even all the more awesome with the additional production and remix work by Two Men and a Drum Machine. Who are Two Men And a Drum Machine, you ask? Well, they would be a side project by Andy Cox and David Steele. You may not recognize those names, but you’ve surely heard their music before. In the early 80s they were part of the original line-up of The (English) Beat, the excellent ska act who gave up “Mirror in the Bathroom” and “Save It For Later,” among other clasics. Then after that group broke up the duo met singer Roland Gift and formed Fine Young Cannibals, who had major smash hits with “She Drives Me Crazy” and “Good Thing.” (They also did the most shockingly brilliant cover of “Ever Fallen In Love” you’ll ever hear).

Their output as TWo Men and a Drum Machine is sadly sparse. The only track the duo released as Two Men And a Drum Machine was the 1988 single “Tired of Getting Pushed Around,” which is actually credited to “Two Men A Drum Machine and a Trumpet,” and this track by The Wee Papa Girls is their only production credit. It’s a shame, their work as Two Men and a Drum Machine was way more interesting and innovative than anything they put out as members of Fine Young Cannibals.

They definitely missed their calling as acid house/hip-hop producers. “Heat It Up” is a great track, of the stuff by The Wee Papa Girls that I’ve heard it’s clearly the best. The acid house production is tight, and the flow by the girls is great. How great? So great that The Beastie Boys swiped parts of it wholesale some 10 years later for their track “Alive.” Either that or both artists swiped from the same source material. If anyone out there knows of another track that features the same vocal hook, please tell me. Rap is so full of “homages” that sometimes it can be hard to tell who was the real originator and who was borrowing from who.

These Daft Punk Remixes are Neither Hot nor New

Monday, March 11th, 2013

I think I’m honestly starting to make some headway on my other, oft-delayed website. I should have some updates soon. Moving everything off of Nearly Free Speech (scam server site) took a lot of time and set everything back. Now that things are back on track I should be able to get that going sooner rather than later. My goal is to launch by April. Let’s see how that works out. Here’s hoping.

Primal Scream
When Thy Kingdom Comes
Okay, I own five Primal Scream singles and no Primal Scream albums. It’s time for me to jump in! Recommend an album I should start with: GO!

Oh, and this is a B-side from the “Accelerator” 12″ single, in case you were wondering.

Renegade Soundwave
Cocaine Sex (Sub-Aqua Overdrive Dub)
Cocaine Sex (Turbo Lust Mix)
People (mainly British) seem to dig it when I post Renegade Soundwave tracks. These are for them, not for me. While I’ve just recently discovered RS, and loved most of what I’ve heard, I fucking hate this song. It’s, quite frankly, kind of gross, and not good enough to earn it in my opinion. But hey, if you love it, go at it and enjoy!

Daft Punk
Prime Time Of Your Life (Para One Remix)
The Brainwasher (Erol Alkan’s Horrohouse Dub)
It seems that everyone is going crazy for new Daft Punk. The hype is reaching such ludicrous levels that the group even put out a 15 second ad that aired during SNL a couple weeks ago. That’s insane! How the hell did Daft Punk’s next album suddenly become the most anticipated record in all of music? Was it just because of a process of elimination? Did the music press have to find a new “OMG where is it?” release after My Bloody Valentine and Godspeed! You Black Emperor finally released new records (and after everything supposedly associated with Dr. Dre’s long-delayed Detox has sucked)?

I just don’t get it. These are the same people who were underwhelmed by the group’s soundtrack to Tron Legacy; the same circle of critics and hipster assholes who dismissed Human After All completely because it had the gall to be an electronic dance album and not another dance/pop hybrid like Homework. Where did this idolization come from?

Maybe its an ‘absence makes the critic get softer’ thing, it’s been years since Human After All, and even the most harsh critic of Tron Legacy could write off that supposed misstep as it being a soundtrack to a mainstream Disney film, and therefore somewhat forgivable for not meeting their lofty standards. Perhaps all these critics, in Daft Punk’s extended hiatus, have made the group out to be something they aren’t, a savior of the bigger-than-ever/shallower-than-ever electronic dance music scene, a group that might bring a resurgence in “Intelligent Dance Music” or “electronica” style dance music of the mid-90s. Now I almost want Daft Punk’s album to be a disappointment (for those looking for another crossover record anyways) just so I can see all those jerks get all bummed out.

But  whatever. I’m just stoked for more Daft Punk. Wet your appetite with these remixes from a 12″ single.

Hot Ash

Thursday, March 7th, 2013

I just bought tickets for seven different shows between March 20th and June 16th. I should really start buying earplugs by the gross.

Ash
Girl From Mars (Live in Tokyo)
Girl From Mars (Live from the Numbskull EP)
Girl From Mars (Live from the Twilight Of The Innocents Bonus Disc)
I really need to update my sources of music news. Not only was I not aware that Ash recently released an amazing 3LP edition of their excellent A-Z Singles series (it comes complete with a digital download that includes a shitton of extra tracks, you should buy it). But I also was not aware that they were touring the states! Even worse, I had no idea that they were coming to my own backyard of Pittsburgh, PA! Shit! Thankfully I found out in time and now I have tickets, but damn, how the hell did this one nearly sneak past me. I must be slipping in my old age.

I fucking love Ash. They’re my favorite band of the britpop era (yes, I know they’re from Northern Ireland, but you know what I mean). 1977 is a great record. Amazing. A must own in my opinion, and everything they’ve done since has been great too. I actually think that their best work has been their most recent, the aforementioned A-Z Series. You should seriously buy that. For real. Go buy it. It’s great.

In the meantime, here are three versions of “Girl From Mars,” taken from different hard-to-find singles, bonus discs and DVDs.

Quick sidenote about Ash. While I do love them, as a person with an s/sh speech impediment, I find their name endlessly frustrating.

Spiritualized
Come Together
Broken Heart
Broken Heart (Instrumental)
HEY EVERYONE LET’S GO DO ACID.

Ahem, these versions are from The Abbey Road EP, and are different than the versions that appeared on Ladies And Gentlemen We Are Floating In Space.

OH GOD IT’S KICKING IN I CAN SEE NEW COLORS.

On The Verve of Greatness

Wednesday, March 6th, 2013

Drowning my snow sorrows with britpop.

verve

The Verve
Lord I Guess I’ll Never Know
Country Song
Three Steps
The Drugs Don’t Work (Demo)
The Crab
Never Wanna See You Cry
MSG
The Longest Day
Stamped
The Verve were a great band who never got their due here in the states, relegated to a status that could best be described as greater than a one-hit wonder but below a critically-acclaimed cult act (kind of between Elastica and The Stone Roses, if we’re going to stick to 90s britpop bands as a means of comparison). I was never a giant fan of the group, but goddamn Urban Hymns is a great record, one that has fared better with age than many other britpop albums from the time. It’s not surprising then that the b-sides and rarities from that era hold up just as well.

I got all of these tracks from a 4×12″ single box set that I picked up in Japan. As you can see from the image above, the box for the set is sadly bland, just being a cardboard sleeve with black text, but the contents more than make up for the lack of visual flair. All of these b-sides are great amazing tracks that could have easily been album cuts. In fact, I bet that many of these tracks were only cut from the album proper because they were so long. “Country Song,” “MSG” and “The Longest Day are all over seven minutes each, and with Urban Hymns already a long ass record (over 75 minutes) they literally couldn’t have fit on the record without making it a 2CD beast, which I think would have been overkill.

So when I think of it like that, I guess it makes sense that these tracks didn’t make the cut. What doesn’t make sense to me, however, is that nearly all of them have yet to see a proper re-release. The Verve only have one official B-sides compilation, 1994’s No Come Down, which came out before Urban Hymns and only featured outtakes from their first two albums. So Urban Hymns-era rarities have never really seen the light of day. The closest they’ve come in the states is on an odd digital-only release that you can find on Amazon called Deep Cuts. Some of the tracks on Deep Cuts were also on this box set, and I’m not including those here tonight. I do recommend you check that mini-release out though, if for nothing else than the track “So Sister” which is easily one of the group’s best b-sides.

Hope you dig on these, if I have time I’m planning another britpop-centric post later this week.

 

Prince’s Madhouse is full of Bunnymen

Tuesday, February 26th, 2013

I finally got all the records from Japan and China cleaned and I’m intent on plowing through them as fast as possible. If I listen to as many as possible for seven days a week, I think I might be done by 2014.

Did I mention I bought a lot of records in Japan?

Ironically, none of tonight’s music is from those records.

Madhouse
6
6 (End Of The World Mix)
6 and 1/2
I’ve written about Prince “associate” acts before. A while ago I did a quick post about The Family, a band that was pretty much just Prince save for a different vocalist (and even that’s debatable). Then a few months ago I posted a tune by Mazarati, a band that was more independent than other Prince associates, but was still heavily guided and controlled by The Purple One.

Madhouse is another Prince associate act, albeit not as well known as those groups or others like The Time. That’s probably because while those acts were just extensions of Prince’s already successful funk/pop sound, Madhouse was an entirely instrumental jazz act with some funk influences. That’s not the kind of act that sells records.

Madhouse released just two albums, both of which came out in 1987. The first, called 8, was pretty much nothing but Prince, with longtime Prince collaborator Eric Leeds contributing some sax and flute parts. The second album, called 16, was more of a group effort, and featured Shelia E on drums and another longtime Prince associate, Levi Seacer, Jr. on bass.

Apparently there were at least two other Madhouse albums recorded, both called 24, but neither have ever seen the light of day (a common story when discussing Prince). Bootlegs are out there though, for those who are interested.

(By the way, all of this is “alleged” I have found no proof documenting any of this, and all the articles I can find online about Madhouse are completely without credible citation.)

I’m going to be honest, I bought this 12″ single just because I knew it was Prince. I really have no interest in jazz fusion, and while I like these tracks, especially the remix, nothing on here really changed my mind. It’s a catchy tune, with an obvious Prince/funk edge, but I’d be lying if I found it especially memorable. Still, I think this kind of thing, a top-secret song by a super-famous artist, is fascinating, and it’s worth hearing once if for that reason alone.

Echo And The Bunnymen
Lips Like Sugar (12″ Mix)
Lips Like Sugar (Dub Version)
I think that “Lips Like Sugar” is Echo And The Bunnymen’s best song. A lot of people disagree with me, but a lot of people can go to hell. I could dance to this song till my feet fell off, and I’m a sucker for a good new wave love ballad. So you all can take your “The Cutter” and “The Killing Moon” suggestions and cram it. Yes, they’re great songs, but they’ll never hold a candle to this one for me.

The 12″ Mix is nearly seven-minutes long, and since we’ve already established that I could listen to this song all day and all night, I’m a fan of this extended mix. Shit, I wish it was even longer. The dub mix is a dub mix, and I’m including it for the sake of being a completionist.

The 12″ single from which I took these songs had two additional tracks. One was the single mix of the song, and the other was the b-side “Rollercoaster.” Both of these are available on the still in-print Echo box set Crystal Days, and I highly recommend you pick that up. Not only for those tracks (“Rollercoaster” is the secret best Echo And The Bunnymen track!) but for additional great rarities, including a haunting nine-minute version of “The Killing Moon” (woot!) and an awesome live cover of The Velvet Underground’s “Heroin.”

They Might Be Sakamoto

Tuesday, February 19th, 2013

I finally went through and cleaned the rest of the records I bought when I was in Tokyo, as well as everything that wasn’t cleaned before I went…as well as the stuff I’ve bought since I returned to the states.

It took me four hours.

Seriously. I was able to watch the first two Fast & Furious films in the time it took me to clean all the damn things.

So, yeah, I guess I really did buy a lot of records when I was in Asia. So many records! They’re surrounding me! I feel like a hoarder, except, y’know, not as insane or on TLC.

The prospect of listening to/recording all of them would overwhelm me if I wasn’t looking forward to it so much. Although to be honest, now that I see my pile of Japanese anime soundtracks next to my turntable, I’m starting to question the level of restraint (or lack there of) that I had while in Japan. Oh well! I bought those Gundam soundtracks and dammit I’m going to listen to them! I might even share them with you all.

Also, look forward to Kraftwerk. Holy shit. So much Kraftwerk. And Leftfield, Pet Shop Boys, OMD, Primal Scream, Erasure…you know what? I’m just going to stop now. I want to leave some surprises. I’ll just say that I think I got the next few months, if not year, of The Lost Turntable covered now, and it’s going to be full of some really amazing shit.

Speaking of amazing shit. Yo, check this shit out.

001

Ryuichi Sakamoto (with Thomas Dolby)
Field Work (London Mix)
Field Work (Tokyo Mix)
Exhibition
I’ve begun to slowly dig into the Sakamoto back catalog. Right now I want all of it, but I suppose that’ll stop once after I accidentally buy one of his classical or more jazz-influenced records. I’m sure all that stuff is excellent for what it is, but I’ll pass.

As for these tracks, they are from a 12″ single. The original version of “Field Work” first appeared on the Western version of Sakamoto’s 1986 album Illustrated Musical Encyclopedia (an abridged and re-edited version of a Japanese only release that first came out in 1984). Dolby fans, however, probably didn’t discover the track until the 2009 re-release of his 1984 album The Flat Earth, which also included soundtrack rarities “Don’t Turn Away” and “The Devil Is An Englishman.”

The version of “Field Work” on The Flat Earth re-issue is labeled as the “London Mix” but it is actually an abridged version of that mix. The proper version runs at about six minutes in length, while the version on the album is only four minutes long. The Tokyo Mix, as far as I can tell, has never been released on CD in any form, and that’s a real shame because I think its the better of the two mixes.

Also rare to my knowledge is “Exhibition.” Dolby is nowhere to be found on this track, and its certainly not a radio-friendly pop number. Instead it’s a 15 minute ambient soundscape with no beats, no melody and no motifs outside of a constant, looping set of beeps and bloops. It’s kind of like something you might find on The KLF’s White Room album, or maybe on an Orb b-side. Not for everyone, but I find it relaxing and oddly enough, a great track to write to. I’ve certainly heard worse Sakamoto, I bought his disco album. It’s…something.

They Might Be Giants
Istanbul (Not Constantinople) (Brownsville Mix)
Stormy Pinkness
Chalk up TMBG as another band who seemed to be doing their damnedest to make sure their fans have easy access to all of their b-sides and other rarities. Like I said before, I wish all bands would do that, even if it makes my job of finding out-of-print and hard-to-find stuff all the more difficult.

Still, it looks like at least a couple of b-sides slipped through the band’s re-releasing machine. I found these two oddities on the 12″ single for “Istanbul (Not Constantiople),” which also had “James K. Polk” and “Ant,” two songs that have made their ways onto proper TMBG releases.

The remix of “Istanbul (Not Constantinople)” is one of the strangest TMBG compositions I’ve ever heard, and if you know anything about the group, that’s really saying something.. The TMBG wiki states that it contains a sample of Kraftwerk’s “The Robots” as well as an unidentified Janet Jackson sample. I couldn’t make that out, but I wouldn’t doubt it. The vocal samples at the beginning of the track are even weirder. What the hell is a white tornado?

“Stormy Pinkness” is weird, but it’s also pretty short (about a minute) and there’s not much to it. So I really don’t have anything to say about that one. I’m glad I found it though.

Play Video Games Be Happy. Also, listen to rad remixes of awesome tunes.

Monday, February 11th, 2013

Do you live in the greater Pittsburgh area?

Do you like video games?

Do you ever wish there was a place where you could buy vintage and import games at affordable prices and play classic arcade games on giant 99″ projection screens?

Then I got the place for you, the Penn Hills Game Exchange, an awesome video game store/arcade in, duh, Penn Hills, PA.

It’s a new store that a couple of my friends just opened, and it’s totally rad. You should check it out. Tell them I sent you. That way when I come in they can reward me with free candy.

Now that I got the plugging out of the way, here’s an incredibly eclectic assortment of electronic music.

Boom Boom Satellites
Push Eject (Howie B Remix)
4 A Moment of Silence
4 A Moment of Silence (Trapezoid Mix by Jack Dangers for Meat Beat Manifesto)
I plan on writing something a bit more in-depth on Boom Boom Satellites sometime in the future. For now I’ll just say that they’re one of my favorite Japanese bands, and I’ve been somewhat of a fan of theirs ever since I saw them open for Moby in 1999. However, it’s not easy to be a fan of the Boom Boom Satellites if you live in America, as almost none of their albums have been given a physical release in the states, and a few aren’t even available on Amazon MP3 or iTunes. That’s why I went all out when I was in Japan and I bought every single Boom Boom Satellites album I could find, giving myself a complete discography of their studio albums; one of their live releases, and a CD single for “Broken Mirror” which was apparently in a Gundam soundtrack (yo, the Japanese love Gundam, for real).

But these remixes are from none of the albums or singles I bought in Japan. Nope, I got these off of a 12″ single that I bought right here in Pittsburgh. Funny how that works.

The Future Sound of London
Snake Hips
The Future Sound of London have done a hell of a job of making sure all their 12″ singles, remixes and other assorted oddities are in-print and easy to snag on various digital services. And good on them, it’s nice to see a band actually understand that if you make  music available, people might buy it. Makes finding a track for me to share a real pain in the ass though. I bought a few FSOL singles in Japan, and this extended mix of “Snake Hips” is the only one that I am sure isn’t on a CD or digital release that you can find in America. The album version from ISDN is about five minutes long, but this version taken from a 12″ single is about eight and a half minutes long. Not surprisingly, it’s still weird.

The Folk Implosion
Natural One (Unkle Mix)
Natural One (Unkle Instrumental)
As the 2000s progress, I find myself more and more often identifying certain pop culture artifacts from the 1990s as “90s as shit.” My Saturday Morning Cartoons covers compilation: that’s 90s as shit. Space Jam: incredibly 90s as shit. Anything with Seth Green where you watch it now and go “holy shit, Seth Green is in this?”: also 90s as shit.

This right here, a song by Lou Barlow from a controversial Miramax film (Kids, a vomit of a film if there ever was one) that was in turn remixed by Unkle, one of the greatest flash-in-the-pan acts of the decade, and a poster child for mid-90s “electronica,” is some real  “90s and shit” shit. It’s also some really good shit, so check them out.

Dispatch From China: Some Like It Hot

Wednesday, December 26th, 2012

As I write this post I am sitting in my room, drinking whiskey and listening to Erasure. However when you read it I will be in motherfucking China, probably freezing my ass off on the Great Wall or exploring the city’s burgeoning punk and metal scenes (I am so stoked to hear Chinese punk, you have no idea). Oh the magic of “post on date.”

However, since I have just spent the past four hours writing various other words for various other articles, blog posts and emails, I am officially out of things to say! So this one will be brief. Good stuff though, at least I think so.

The Power Station
Some Like It Hot And The Heat Is On 
This version of The Power Station’s biggest hit is a megamix of sorts that combines the original album version of the track with “The Heat Is On,” the dub mix of the song. It’s good, but all I could think about while listening to it is the video for the song. It’s 80s as fuck.

The following things happen in this video:

  • A rotoscoped woman dances.
  • An extremely tall female model walks up to a space heater while Robert Palmer sings “feel the heat.
  • Plastic trees burst into flames!
  • The same model from before returns and shaves her already shaven armpit on camera.
  • Robert Palmer (dressed as a priest) sings to a statue of a bird.
  • Stock footage people clap.
  • The model puts on pink lipstick while a statue of a tiger watches.
  • Guitar solo by the dude from Duran Duran, he is clad in ammo belts and 80s metal hair.
  • Model puts a lamp up to her face when Palmer repeats the lyric “feel the heat”
  • Model sunbaths in a black light, with shaving cream on her face.
  • Rotoscoped lady re-appears from lightening!
  • Freeze frame!
  • Song ends.
  • PS: bolo ties.
  • PPS: Neon green eyeliner
  • PPPS: The 80s yo.

Erasure
Always (Extended Mix)
You guys! I almost went an entire year without posting an Erasure remix! What the fuck! If that happened I would have lost my fabulousness (and fuck you Chrome, that’s a word). This is from a 12″ single.

Oh god I just thought something: what if there is there is a club in China that plays vaguely gay synthpop? Oh god I hope there is. I’ll dance my ass off. Fuck punk bars, that’s where it’s at.

 

If you’re having hosting problems I feel bad for you son…because I can identify completely.

Monday, November 26th, 2012

Okay, I got my hosting problem resolved, and in case you’re wondering exactly what the hell happened, I’ll explain.

For several years I’ve been using Dreamhost as a hosting service for Lost Turntable. In fact, even before I moved my blog away from Blogspot I was using the Lost Turntable URL and server space provided by Dreamhost to host my MP3s. I chose Dreamhost, quite frankly, because they were cheap.

Well, you get what you pay for sometimes. While Dreamhost is dirt cheap, they’re about as reliable as the Raiders starting QB (oooh a sports reference!). Ever since I signed up with them, not a month would go by without at least some sort of temporary outage or disruption in service. If you follow me on Twitter (and if you don’t you really should – see that button up in the top right corner, why don’t you click on that?) then you’ll know that whenever this happened it drove me nuts.

A few weeks ago someone at Dreamhost must have spilled a cup of coffee on the wrong power cord or something, because my site went down for over 48 hours. That was the last straw for me. Sure, I don’t make money with the Lost Turntable (in fact it costs me money), but I like to keep a reliable site up for my readers, and I do use it as a reference for potential employers sometime, employers who don’t mind liberal use of swear words and casual piracy.

With the help of a friend, I migrated my site to Nearly Free Speech (NFS) another hosting service. I chose NFS for two reasons. One, they have a very hands-off approach to the sites they host, so I would never have to worry about them shutting me down, and two, because of their unique pricing system.

Hosting services like Dreamhost sell their services as a flat rate. That’s great it you need a lot of bandwidth and a ton of storage, but if you just need a little bandwidth and not that much storage, it’s kind of a waste. I thought that my site didn’t take up that much bandwidth or storage, so switching to a service that used a pay-what-you-use model made sense to me.

Okay, that was my mistake.

Turns out that you fuckers download a lot of music from me. How much?

About 7 to 10 GB a day.

That’s a lot of bandwidth. Furthermore, because of my generous nature (I know, I know, I’m great) I typically have about 6 GB of files hosted on my site at any time. With that much bandwidth and storage, I was looking at a monthly bill of about $130 from NFS, that’s more than what I paid Dreamhost for a year of hosting.

Now, I like you guys, but not that much. I needed to change severs and fast. But one problem, ICANN (the governing body of the Internet, yeah there is one! Crazy huh?) says that a site cannot change hosts twice within a certain timeframe, something like 60 or 90s days. Meaning that my site is stuck at NFS for the the time being.

I found a workaround though! Using a third hosting service (which will remain nameless at the moment), I registered LTfiles.com, and then I moved ALL the MP3s I’m currently hosting to that server, which i’s the server I’ll be using for the foreseeable future. So from now on, when you download an MP3 from The Lost Turntable, you’ll technically be downloading it from LTfiles. It’s not an actual site though, so don’t bookmark it or go there. It’s just a placeholder.

It’s kind of a roundabout solution, but it was the best I could come up with. And, actually, thanks to the deal I got at that hosting service, I’m still going to end up saving money on the whole thing. All my hosting combined should only be about $100 for the upcoming year. So while I appreciate the offers for donations, they won’t be necessary  Besides, I’m kind of morally opposed to anyone asking for donations if they run a site like this. I don’t own these songs. No one is making me post them. If I can’t afford to do it or find someway to make it work on my own, then I feel that I really shouldn’t be doing it. But whatever, I’d rather not drag other site’s names through the mud just because I don’t agree with how they operate.

And besides, if you really do want to help me out, may I remind you that I am currently selling some of my records to get some cash for my trip to Asia. Why don’t you check out what I have for sale and make an offer?

See what I did there? I’m clever.

Anyways, enough of this boring nonsense, how about some music? Kind of a lean most musically tonight, but don’t worry, I got some cool stuff planned later this week.

Soundgarden
Come Together
I’ve heard this cover on the radio  since the mid-90s, and it goes back even farther than that. I grabbed it from the 12″ single to “Hands All Over,” which was released in 1989, I don’t know where it first showed up. One thing I do know, however, is that it has never been issued on a proper Soundgarden album, which is fucking crazy considering how great it sounds and how well known it is.

Shelia E
A Love Bizarre (Parts I and II)
Save The People
Let’s take these songs one at a time.

As far as I can tell, there are three versions of “A Love Bizarre.” The album version, which is over 12 minutes long, a brief single edit that runs a slight three minutes and forty-six seconds, and this version, which is smack dab in the middle at seven minutes and sixteen seconds in length. I would assume that this means the full 12-minute version is the three-part version, and that final part is the part that has been removed from this slightly abridged one, I don’t own that uncut version though, so I’m not sure. Regardless the song kicks ass, and is one of Shelia E and Prince’s best (the track is pretty much a duet between the two).

As great as that song is though, “Save The People” really blows it out of the water. Lyrically, the track is very simple, with the only words being the occasional repeated chorus of  “save the people/feed their hungry eyes/save the children/don’t let them die” (surely a Live-Aid inspired message). But the lyrics are nearly inconsequential to the rest of the tune, which is an eight and a half minute funkified epic of face-melting guitar riffs, amazing drum solos and a blistering bassline that would make Les Claypool do a double take. It’s brilliant funk, something right out of a Funkadelic album. Amazing, awesome, spectacular stuff. The kind of track that makes me happy that I collect vinyl, and even more happy that I have a site like this where I can share it with you all, enjoy!

 

 

 

Satellite Of Dumb

Wednesday, August 22nd, 2012

Toledo trip delayed by two days! Thank [insert fictional deity here]!

Beck
Mixed Bizness (Nu Wave Dreamix by Les Rhythmes Digitales)
Mixed Bizness (Dirty Bixin Mixness Remix by Bix Fender)
Mixed Bizness (Cornelius Remix)
Dirty Dirty
Sexx Laws (Malibu Remix)
Sexx Laws (Wizeguyz Remix)
Salt In The Wound
My first draft of tonight’s post included a huge rant on how I think that Midnite Vultures is Beck’s best work, an underappreciated masterpiece of cheesy funk and fun time silliness that only gets better with age. My words were starting to sound familiar, so I did a quick search through my older posts and discovered that I already said a year ago. Oh well, it was true then and it’s true now. As far as I know I never posted these remixes and B-sides though, which I culled from 12″ singles to “Mixed Bizness” and “Sexx Laws,” so at least I’m not doubly redundant tonight.

Lou Reed
Satellite Of Love ’04 (Dab Hands Retouch)
Satellite Of Love ’04 (Dab Hands Radio Edit)
Satellite Of Love ’04 (Groovefinder Remix)
Beck’s Midnite Vultures is what I would consider to be a great example of “good stupid,” something that’s purposely dumb and works because of it. On the other hand, I consider these remixes of this classic Lou Reed song to be “bad stupid,” something that no doubt seemed like a good idea at the time but ended up making everyone involved look like a dumb-ass in the aftermath.

If you had me write a list of songs I would like to see remixed, I don’t think any Lou Reed tracks would make the cut. And if you made me choose one, I think I would choose “Sweet Jane” “White Light/White Heat” or even “Heroin” over “Satellite Of Love.” I don’t think glam and techno make good bedfellows.

If there is one good thing about these mixes, however, is that they really bring Bowie’ backing vocals out to the forefront. So if you love yourself some sweet, sweet Bowie, then they’re not all for naught. Actually, the “Groovefinder Remix” has some good moments, but still, it’s entirely unnecessary.

(And in case you’re wondering, my list of songs I’d love to see remixed includes “Empire State Human” by The Human League, Fugazi’s “Waiting Room,” and “Rebel Girl” by Bikini Kill, because why the fuck not?)