10 Years Of Being Lost: Fish Story Will (Still) Save The World

March 18th, 2016

A lot of these posts to celebrate my 10th anniversary cover genres, themes and other overarching threads that have been present on my blog for the past 10 years. But tonight’s post is just one song, one that’s really important to me.

Gekirin
Fish Story
Fish Story (Silence 1975 Version)
No movie has ever moved me as much as Fish Story. I think I’ve seen it over 10 times now, and each time a scene near the beginning of the film nearly brings me to tears.

The world is doomed. A comet is due to smash into Earth in mere hours, destroying all life on the planet. Tokyo is deserted save for three souls inside a record store. One man is a fatalist who is eagerly awaiting the planet’s demise. Another is a customer still in denial. But the clerk is still convinced that earth will be spared because, “Music will save the world.”

I get goosebumps just thinking about it.

It’s hard to stay optimistic these days, isn’t it? Seems like in the 10 years since I started this blog the world’s been nothing but bad news peppered with false hopes and dashed expectations. We stand on the verge of America’s most terrifying general election to date, and the world is still on the cusp of utter destruction, as serial killers disguised as CEOs pump millions of dollars into misinformation campaigns to delay action on climate change.

Sometimes it’s hard to keep your head in the light. Things get dark. Things got so dark for me a couple years back that my anxiety went into overdrive and fear of the unknown nearly crippled me into a soul-crushing depression on the eve of my move to Japan. I managed to get myself out of that funk (thanks to Yes) but I still sometimes come dangerously close to sliding back into it. I read the news, I think about the future, and I just want to crawl into a hole and bury myself inside.

But then I remember, music will save the world.

How?

Yeah, so that’s the thing. I don’t know. But I believe it with every fiber of my being. Music has the power not to just change the world, but to literally save the fucking planet. It has the power to save the environment, stop terrorism, cure cancer, eradicate crime and make puppies even cuter. You name it. Music is life. Music can save the planet and music can save you.

“Fish Story,” and now I’m talking about the song, not the actual movie, is in Japanese. But the lyrics honestly don’t matter. As the movie explains, they’re pretty much gibberish. But the song saves the world. And when I listen to the song, I reminded how it saves the world, and that gives me hope for my world. No matter how silly that sounds.

Fish Story will save the world.

If you want to watch Fish Story, I highly recommend skipping the horrendous Region 1 DVD and instead grabbing a UK copy. The Region 1 edition by Pathfinder Pictures is not anamorphic (meaning there are vertical and horizontal black bars on the screen at all times) and the subtitles are burned in, making them hard to read. Additionally, from what I’ve read they’re also occasionally inaccurate and omit some key details during the film’s amazing conclusion.

If you can’t get that, then look for a torrent or check Netflix, it occasionally pops up there. Just don’t give Pathfinder Pictures your money, they’re idiots who bought the film off a Korean distributor instead of going the right (aka more expensive) route and getting their hands on a proper master.

I believe that music will save the world from most disasters currently facing us, but sometimes theft and public shaming are the only ways to save the world from bad media distribution.

And for more songs from Fish Story and more information on the song and its composer, check out this post.

And don’t forget, Fish Story will save the world.

Posted in Gekirin, Kazuyoshi Saito, soundtrack | 4 Comments »

10 Years Of Being Lost: I Like Bad Music

March 15th, 2016

If there is one thing this blog has taught me, it’s that  I have bad taste in, well, just about everything.

I guess that’s not entirely true, but in my search to find weird and hard-to-find records, I’ve discovered that I’m more likely to enjoy a substandard piece of entertainment that does one unique thing than I will a by-the-numbers, well-executed work that everyone falls head over heels for. Why else would I own the complete discography of Fireballet?

And it goes well beyond music. For example, one of my favorite movies of all time is Pretty Maids All In A Row. It’s a comedy about a womanizing high school guidance counselor; his favorite student’s affair with a hot teacher; and a series of grizzly murders taking place on campus. It stars Rock Hudson, Telly Savalas and Roddy McDowell, and was written by Star Trek creator Gene Roddenberry.

It’s great.

Just kidding, it’s a fucking mess. But it’s fascinating mess! And it’s filled with situations, sub-plots and characters that you just don’t see in more polished work. I love it because its rough around the edges. Ambition, originality and just plain eccentricity goes a long way with me I suppose.

And I think that shows with tonight’s music, a selection of some of the…lesser tracks I’ve shared over the years that I still unapologetically love, no guilt with these pleasures.

Okay, maybe a little guilt.

Billy Idol
Heroin (Durga Trance Dub)
Heroin (Durga Death Dub)
Heroin (Don’t Touch That Needle Mix)
Heroin (Smack Attack)
Heroin (VR Mix)
Heroin (Needle Park Mix)
Heroin (Overlords Mix)
Heroin (Nosebleed Mix)
Heroin (A Drug Called Horse Mix)
Heroin (Ionizer mix)
Was this in the soundtrack to Hackers? I feel as if it should’ve been in the soundtrack to Hackers. Or at least The Net.

I actually just re-watched the video of this and to “Shock To The System,” the other single from Idol’s Cyberpunk, his failed 1993 album that all but completely destroyed his career. I like a few tracks on that record and I think it’s underrated, but even I wouldn’t go as far as to call it a lost classic. Reading about its release sure is interesting though. Did you know that this album was controversial? Apparently, many of those involved in early online communities, such as the the WELL, thought of it to be bullshit and Idol to be poseur. This was even though Idol went out of his way to seek advice and guidance from those in that community during the production of the album. It seems that some just couldn’t get behind the idea of a celebrity using the Internet as a means promotion.

I bet none of those people are among the 40+ million who follow Kim Kardashian on Twitter.

Dolby’s Cube
Hunger City
Howard The Duck
It Don’t Come Cheap
Don’t Turn Away (Lea Thompson Vocal)
Howard The Duck (Mega Mix)
I’m On My Way
Vinyl re-issues of movie soundtracks are hot shit at the moment. I blame/credit Death Waltz for starting the trend. And while I think it’s really starting to get out of hand (I just bought a glow-in-the-dark re-issue of the Fright Night soundtrack), I don’t think we’ve reached maximum saturation yet, mainly because the soundtrack to Howard The Duck hasn’t been re-released yet. And that’s a fucking shame.

BECAUSE THE SOUNDTRACK TO HOWARD THE DUCK IS FUCKING GREAT.

Thomas Dolby. George Clinton, Stevie Wonder. Joe Walsh. They all perform on this album, and they’re fronted by Lea Thompson, who is a shockingly good rock singer. I want to hear her sing “Cherry Bomb,” I bet it would sound incredible.

My favorite of the Thompson-fronted tracks from Howard The Duck isn’t the theme song (although it’s rad), instead it’s “Hunger City,” an intense, 80s pop rocker that really channels the anger and energy of pop-rock like Pat Benatar or even some early Joan Jett. There’s a desperation to the lyrics, and to Thompson’s powerful delivery, that have a surprising aura of honesty to them. This song feels like it was written about someone’s real struggles, and not the struggles of a duck trapped in a world he never made.

The other songs are good fun, but “Hunger City” is a lost classic.

Bell & James
The Fish That Saved Pittsburgh
The Fish That Saved Pittsburgh (12″ Remix)
The Fish That Saved Pittsburgh (Instrumental)
I love this song so much that I almost typed this entire section in all caps with every sentence ending in exclamation points. THAT’S HOW GOOD THIS SONG IS!!

This is the title track to the film of the same name, and it more or less just tells the story of the film. So not only is this song a funky masterpiece of 70s soul, it also does you the service of saving you from having to watch The Fish That Saved Pittsburgh, because that is a bad movie that’s not good. I know I said that I like a lot of things that other people consider to be bad, but this is one instance where I share the critical consensus: that movie is a pile of dog shit.

The song is dope though, some might say it is the second-best song ever written with the word “fish” in the title.

Posted in Bell & James, Billy Idol, soundtrack, Thomas Dolby | 3 Comments »

10 Years Of Being Lost: Gone But Forgotten

March 7th, 2016

When I started Lost Turntable my goal was to shed light on lost music, but I was primarily concerned about lost songs by well-established bands.  But over the years some of the most fun I’ve had writing has been when I’ve covered acts that have fallen through the cracks completely. Sometimes they were acts that were big for a minute in their native countries and then vanished. Other times they were cult acts with a few minor hits before calling it quits. But every once in a while I’d find an act that seemed completely lost in time, having never scored a hit when they first formed and never found any sort of following since.

I’ve always been most interested in these acts. We all know what life for mega-huge rock stars is like, that’s been covered to death in film, TV and even in songs by mega-famous rock stars (thanks Joe Walsh). We also have some idea as to what life is like for the has-beens and one-hit wonders of the pop world. If it wasn’t for them, the entirety of the British reality TV landscape would dry up overnight.

But we never hear about the never-wases. Makes sense I guess, no one wanted to hear about them when they were attempting to be around, why on earth would anyone care about what they had to say now?

Well, I care! I want to know. I wonder how many people from failed bands manage to parlay their broken dreams into something at least tangentally related to the music biz. A lot of one-hit wonders and cult acts end up working as song-writers. The dude from Semisonic helped write Adele’s 21, y’know. But what about the guys in Radioactive Goldfish or anyone who was in a group like Spizz or Fischer-Z? Maybe they have hella interesting stories too. I bet the saga of nearly making it, while not as personally fulfilling for those involved, is probably more interesting than a lot of the rags-to-riches stories we usually here.

Here are songs by people and bands who never made it, or made it for about five minutes. May they one day be well-known enough to be forgotten.

Apollo Smile
Let’s Rock
When I first posted this track back in 2009, I wondered aloud, “What ever happened to Apollo Smile?” The “real life anime girl” was a mainstay of my teenage years, I frequently would see her name on the guest lists of comic-cons, and she would occasionally pop up on Sci-Fi Channel to host some random anime show. In the late-90s she even made her way to video games, lending her voice to Ulala, the groovy protagonist of Sega’s Space Channel 5 games.

And then she seemingly vanished without a trace. No more anime specials, no more comic cons and no more video games. The scene that she helped to cultivate had seemingly outgrown its need for her. But I wanted to know what the hell actually happened to her. So much so that I even tried to track her down for an interview a few years back.

Thanks to her Wikipedia page, that was actually shockingly easy, as it listed her last-known place of employment as a dance teacher for a small private school. Emboldened with a sense of journalistic desire to share the world the story of what happened to Apollo Smile (I mean, c’mon, this could totally get on A.V. Club today) I sent out a few emails inquiring about the chance of an interview.

Never before had I been shot down as hard for an interview as I was for that one. I’m not going to go into details. But for anyone out there wondering, Apollo Smile does not want to be found.

If she had agreed to that interview, I definitely would’ve asked her if she got clearance to use the Led Zeppelin sample that’s in this song. I bet the answer would’ve been no.

Lisa Dal Bello
Bad Timing
I’m kind of cheating here, because Lisa Dal Bello was moderately famous in her native Canada, but for the rest of the world she’s probably a complete unknown. Fucking shame.

When I wrote about Dal Bello back in 2011, I focused on her 1984 powerhouse whomanfoursays, which was produced and co-written/performed by Mick Ronson of Ziggy Stardust fame. I still stand by that record. It’s great, and now that you can get it digitally on Amazon and iTunes, I suggest you do. It’s an amazingly unique record. And while parts of it sound dated, some of it still sounds remarkably ahead of its time. Her voice is really off the charts, and the songwriting is top-notch.

Whomanfoursays was a bit of a re-invention for Dal Bello. In the late-70s Dal Bello was a pop star with a disco/dance bent, kind of like a Canadian proto-Madonna. She had some success with that formula, got a Juno Award (Canadian Grammy) for her first record, but didn’t have much success in terms of sales. And by the early-80s I suspect that she was getting fed up with the pop world, letting her dissatisfaction manifest itself in this blistering track that takes aim on the facets of the music industry that screwed her over hardest. I hope someone sends this track to Kesha.

As I said before, Dalbello managed to salvage her career with whomanfoursays. It wasn’t a massive smash, but songs from it got covered by Queensryche and Heart, and she went onto record two more very well-regarded albums before moving on to what is no doubt the much more lucrative commercial jingle market. Utterly fascinating, and anything of hers you can find is totally worth checking out.

Havana 3 A.M.
Blue Gene Vincent (Live)
The big Clash side-project/off-shoot is of course Big Audio Dynamite, and I’ll be writing about them sometime this month. But there was also Havana 3 A.M., the oddly-named project featuring Paul Simonon, bassist for The Clash. Havanna 3 A.M. only released one album, and I’m going to level with you right here, it’s not particularly good. It’s not bad, but it sure as hell ain’t memorable.

Except for this track, a tribute to the late-great Gene Vincent, which is about as perfect an amalgamation of rock, country and rock-a-billy you’re likely to hear.  The album version is good, but this live rendition is even better, and injects an intensity and energy that the studio version is lacking. I found this on an I.R.S. Records promo cassette tape, a find so incredible that it single-handedly made buying that cassette deck worth it.

And it’s sure as fuck better than The Good The Bad and The Queen.

Slow Bongo Floyd
More Than Jesus (SBF Mix)
More Than Jesus (Irresistible Force Mix)
Open Up Your Heart (11 O’Clock Mix)
Open Up Your Heart (Piano Mix)
So far the acts I’ve featured tonight have some sort of following. Apollo Smile may be nearly forgotten today, but there’s a “nearly” there. Someone out there still cares about her. Lisa Dal Bello had a live album come out last year, so however small, there’s still a market for her work somewhere. And sure, Havana 3 A.M. might be the lesser of Clash off-shoots, but they’re still a Clash off-shoot, a fact that will forever grant them at least the curious Google search from time to time.

But Slow Bongo Floyd? No one gives a shit about Slow Bongo Floyd. They have a poorly-managed Facebook page, and it has a single, solitary “like” that was no doubt given by the person who created it. Slow Bongo Floyd is about as forgotten as a band can get.

And that’s a real bummer. While their album isn’t great, their singles sure as hell should’ve been more popular than they were. “More Than Jesus” is an especially awesome tune, and how it didn’t manage to at least be a minor hit during the time of The Stone Roses and the Happy Mondays is anyone’s guess. It’s a great psychedelic dance/rock tune, madchester all the way. It’s groovy as fuck, and “I Love you more than I love Jesus” is a hell of a line to build a track off of.

From what I can gather, Slow Bongo Floyd was really just one guy by the name of Michael Patrick Jones. As that’s about one step away from “John Smith” in terms of name popularity, I can’t find a single thing on the Internet about his post Slow Bongo Floyd work, so if anyone would like to enlighten me I’d be forever grateful.

Posted in Apollo Smile, B-sides, Dalbello, Havanna 3 A.M., remixes, Slow Bongo Floyd | 4 Comments »

10 Years Of Being Lost: The 12″ Single Remix

March 4th, 2016

I thought long and hard about what I would do for the 10th anniversary of this blog. While I’ve never been a big fan of self-congratulatory retrospectives, I am unabashedly proud that I’ve managed to keep this site going for 10 damn years. As I mentioned a few weeks back, nearly every single MP3 blog that inspired me to create this site no longer exist. A few of them, like Lost Bands Of the New Wave Era are still up in some sort of archival form so you can at least read about the bands in question, but most have been scrubbed entirely from the Internet. I can’t even remember the names of most of them.

But it’s not just the Internet that’s changed in 10 years, my life has been crazy. When I started this site I was working for a crummy online DVD retailer and living in a junk apartment in Pittsburgh. Since then I went back to college to get a second degree, went through about a billion other jobs (freelance and permanent), saw myself printed in a major international music magazine, bought a house, sold a house, MOVED TO FUCKING JAPAN, begin a new career as a teacher (which I love) and meet a wonderful man who I am so happy to call my boyfriend. Life’s been crazy.

Makes me wonder what the hell I’ll be doing ten years from now! But no matter what that is, I suspect I’ll still keep this blog going. I like writing it too much to quit.

Maybe one day I’ll even update the layout.

Well, let’s not get ahead of ourselves.

Anyways, tonight I thought I’d kick off the celebratory flashbacks by looking at what I’ve probably dedicated more time to on this site than anything else, the obscure 12″ remix. It’s safe to say that Lost Turntable would not exist if it was not for the 12″ single. Actually, a more accurate statement would be that it’s fair to say that Lost Turntable would not exist if it wasn’t for the continued neglect of songs that were exclusive to 12″ singles. In the late 70s and up to the 90s, many great acts saved their best B-sides and remixes for the 12 incher. But in the 2000s, when many artists had their catalogs re-issued for inclusion on iTunes and other digital music storefronts, a lot of those remixes, B-sides and other tracks got lost in the shuffle.

I first started this blog, you could barely find any vintage New Order, Depeche Mode, Pet Shop Boys or Erasure remixes on CD, let alone digitally. Those oversights gave me plenty of content in the early years of Lost Turntable, which nearly became a purely 80s-focused blog because of it. Things are better now, and you can at least find most of the best remixes and such by these artists on CD and digitally, thanks to box sets and deluxe re-issue campaigns.

But not every band can be New Order or Depeche Mode, and aren’t even lucky enough to get their entire album discography remastered and put up for sale online, let alone their non-album cuts. And others just don’t seem to care. So here are some of my favorite 12″ remixes that have yet to be re-released.

XC-NN
Lifted (Industrial Mix)
Lifted (Industrial Mix Instrumental)
Lifted (Alternalift Mix)
Lifted (Alternalift Mix Instrumental)
Lifted (Funk Mix)
Early in my collecting days, I basically bought any 12″ single I could find that had any name on it that I found the lest bit recognizable. That name in question was rarely the artist, more often than not it was the remixer or producer associated with the track. That was certainly the case with this single, which I bought only because it featured remixes by The Dust Brothers.

The Dust Brothers aren’t very prolific as performers, but they’re studio gods, working behind the scenes as remixers, producers and engineers with some of the greatest acts of the 80s, 90s and 2000s. They produced Paul’s Boutique, Odelay and the soundtrack to Spawn (underrated). They also produced Hanson’s breaktrhough record which, say what you will about, certainly sounds quite good from a technical and production standpoint.

They’ve toned down their output as of late, I don’t see many new credits by them on Discogs, but I’m still a fan and will buy any remix I see them credited on. They really have a knack for layering effects and instruments, almost like a modern-day Wall Of Sound. I’ve always been impressed with how they can stack so many samples, effects, vocals and instruments together without making it all sound like indecipherable garbage. I think more modern-day producers could learn from their work.

Their remixes of “Lifted” serve as a good example of their remix work that I’ve discovered, mixing together the big beats and crisp production of mid-90s electronic music (think Fatboy Slim) with the dirty, scuzzy guitars of the then dying alt-rock scene. They know how to mix a sequencer and a distrotion pedal better than anyone.

But who are XC-NN?

Yeah. that’s a good question. I guess.

I knew nothing about them when I bought this record nearly a decade ago, and still don’t know much about them now. I know they formed in the mid-90s as CNN but had to change their name when the network CNN was like “yo dudes that’s not going to fly.” They released an album no one cared about, followed that up with a sophomore effort even less people cared about, and then broke up. After that, Tim Bricheno, formerly of Sisters of Mercy, then formed Tin Star with fellow XC-NN member David Tomlinson. They apparently had one hit single in the states by the name of “Head.” I’ve never heard of it, let me check YouTube. I’m usually good with my forgotten 90s acts. I’m sure I’ve probably heard this tune.

Nope. I got nothing.

Anyway, they couldn’t follow up that track’s limited success I guess, they broke up again and that was it for that. No idea what they’re up to now, although Tim got together with another old group of his, All About Eve, for a reunion stint in the mid-2000s.

I tried to get into other XC-NN tracks after listening to “Lifted,” but I couldn’t do it. Sadly, they’re entirely deserving of their (lack of) reputation. Their blend of industrial electronica and rock music sounded fresh for about 10 minutes in the mid-90s, but that sound has not aged well, and became saturated not soon after. The people may had developed a taste of industrial rock in the wake of Ministry’s and Nine Inch Nail’s success, but that taste didn’t last long. And if there wasn’t enough of an appetite for angry electro-rock to keep acts like Filter and Stabbing Westward (underrated!) on the charts, there sure as hell wasn’t enough to sustain XC-NN. That being said, I’m going to stand by “Lifted.” Dust Brothers remix or not, this should’ve at least been a minor hit single. If the pop charts had room for Gravity Kill’s “Guilty” then I don’t see why they couldn’t have fit “Lifted” in there as well, at least for a short time.

If I would’ve heard “Lifted” when it first came out in 1995 I would’ve certainly loved it, and not just for it’s of-the-moment electronic/rock style. its vague angry lyrics would’ve fit my particular brand of teen angst perfectly.

You didn’t raise him
He just grew
You should have known him back then
Before he knew you

Those four lines are the best lines of the song, even better than the chorus, which works more on attitude than anything else. As a whole, the song is pretty obtuse, but I think these lines in particular read them as an attack on an absentee dad. My own father was certainly not absentee, and I think he’s usually tried his best. But in the mid-90s I sure as fuck had plenty to be angry about with him, so when I hear songs touching on that topic I sometimes find myself transplanted back to my pseduo-negelected teenage self and really identify with the track more than I actually have any right too.

“Lifted” isn’t a lost classic. But it’s certainly a lost also-ran, and a prime example of why I started Lost Turntable.

Now for some lost 12″ single remixes from bands you’ve actually heard of. Sorry if the audio is a little hit and miss, I recorded some of these years ago on old equipment.

Dan Hartman
I Can Dream About You (Extended Remix)
Dan Hartman’s lone hit came from the soundtrack to an absolute bomb of a flick, Walter Hill’s epic rock ‘n’ roll fable Streets Of Fire. I fucking love that movie. I love it’s insane alternate reality that combines a post-apocalyptic cityscape with the greatest stylistic hits of the 50s and 80s. I love its over-the-top performances by everyone from Michael Pare to Rick Moranis. I love the fact that it ends with a fucking steel sledgehammer fight. But most of all I love its epic soundtrack.

Strangely, Dan Hartman’s version isn’t in the movie proper. Instead it features a version by a made-up Motwon-style vocals group (which features Robert Townshend and the dude who played Bubba in Forrest Gump). This extended version isn’t as good as that one (damn I wish they’d release that somewhere) but it’s a pretty great version of a pretty great piece of 80s pop.

Don Henley
All She Wants To Do Is Dance (Extended Dance Remix)
I hate The Eagles but I love a lot of solo work by Eagles members, from Joe Walsh’s lovely “Life’s Been Good” to Glenn Fry’s “Smuggler’s Blues” to a hell of a lot of Don Henley’s solo work. You say you don’t like “Boys Of Summer?” I say you’re better at denying utterly catchy pop tunes than I ever hope to be. This track is no “Boys Of Summer,” an honest-to-goodness classic, but it’s great in its own right. Again, I’m shocked this remix hasn’t been re-issued anywhere recently.

Madness
Yesterday’s Men (Demo)
I usually hate it when demos are included as B-sides, it always feels like filler to me, and I’m rarely curious as to how an unfinished version of a song sounded. A rare exception to this rule would be this beautiful version of one of Madness’ best tunes, which strips what was already a pretty sparse song until it sounds less like a demo and more like a purposely lo-fi home recording that was recorded in someone’s closet with a cheap microphone and a store bought Casio. It’s like if Lou Barlow went ska. It’s almost intimate, and it really makes the lyrics hit even harder. Just beautiful.

Ready For The World
Oh Shelia (Extended Remix)
You can go to iTunes right now, do a search for the 12″ remix of this song and something comes up. But don’t believe the lies. That version is not the real 12″ remix. It’s a re-recorded version.

Re-recorded versions are blights on digital storefronts, and need to be wiped from this planet. They usually exist as a means for the artist to get royalties without having to pay the original record companies. And I get that, but they really do the fans a disservice, as they never ever sound as good as the originals. And even if they are technically better in some way or another, it doesn’t really matter, because people don’t want a technically better version of the song they know and love, they want the version they know and love! At least the original album version is on there.

Elect me for president and I will make it my first executive action to strip all re-recorded versions off digital storefronts and replace them with the originals. First on the plate, Def Leppard.

Yeah, it’s a stupid political platform, but it is any stupider than Trump?

Sade
Smooth Operator (12″ Version)
There’s this weird mall in Tokyo called Nakano Broadway that mostly focuses on geek culture stuff like figures, manga and old video games. Tucked away in a far off corner on the third or fourth floor of the mall is a really tiny movie store that focuses on weird cult flicks and art-house films. If you want to score Criterion blu-rays in Japan, that store is your best bet.

Whenever I go in there that dude is rocking out to a Sade blu-ray. So he knows what’s up.

Expect a few more posts like this for the rest of the month, with some regular posts with new rips interspersed. Thanks again to everyone who’s kept up with me over the years.

Posted in 10 Years Of Being Lost, B-sides, Dan Hartman, Don Henley, Madness, Ready For The World, remixes, Sade, XC-NN | 12 Comments »

Pop Floyd and Garage Rock Disco Covers

February 27th, 2016

The 10th anniversary of Lost Turntable is about a week away, and I do have something special planned. Not only that, but in a rare example of me planning out this blog in advance, most of it is already written and ready to go. I’m trying to go for something that focuses a lot on what I feel makes this blog great (in my humble opinion) and will really run the gamut in terms of content and tone. I think there will be something for everyone. I hope you all enjoy it, because I’ve really put a lot of time into it.

David Gilmour
Blue Light (Vocal Remix)
Blue Light (Instrumental Remix)
Is there a name for the genre of music that most 70s rock stars saw themselves falling into during the early 80s? You know what I’m talking about. Steve Winwood, Phil Collins, Pete Townshend, Robert Plant, just to name a few, at the dawn of the Reagan-era they all stripped away damn near everything that made each of them unique and all drifted towards the same incredibly generic, synthesizer-based dance/pop/rock sound. Nebulous-yet-catchy, and utterly dated not five years after the fact. Does anyone still listen to Robert Plant’s “Tall Cool One” in 2016?

That song is better than this track, however, a failed single off of Gilmour’s 1984 album About Face, which was not a good record in 1984; not a good record when I discovered it in the late-90s, and remains not a good record to this day. This is probably one of the better songs off of it, and I can say that it at least works moderately well as an upbeat rock track. Gilmour’s vocals are decent, and he manages to work in his trademark echoey guitar effects into what would be a rather bland pop track otherwise. It’s still strange to hear Gilmour perform music like this though. His more recent solo efforts, while also far from perfect, are much improved, and I think play more to his strengths, those being spacey guitar solos and much looser song structures.

While I’m not a fan of Gilmour’s solo work, I would still say that his solo output is better than his bandmate Roger Waters’, which has served to prove that Waters is a lyricist first, bass player second, and a musician eighth (positions three through seven are “professional asshole” if anyone was wondering). Gilmour’s solo records are boring, but at least the guitar solos are good. Waters couldn’t catch a melody if his life depended on it. He is tone deaf after all.

If you’re interested in checking out good 80s Gilmour that doesn’t involve Pink Floyd, I strongly recommend you give a listen to Berlin’s “Pink And Velvet,” a lost masterpiece that probably features Gilmour’s second-best guitar solo behind the one for “Comfortably Numb.” A jaw-droppingly stunning lost classic.

Thelma Houston
96 Tears (12″ Remix)
File under “Covers I Never Thought I’d Hear,” right next to KMFDM’s take on “These Boots Are Made For Walking” and Eagles Of Death Metal’s “Save A Prayer.”

The album version of this cover can be found on Thelma’s 1981 album Never Gonna Be Another One, however, this epic seven and a half minute version is 12″ exclusive and out-of-print entirely. It’s not as epic as I hoped it would be, but I’m still enjoying it.

Posted in David Gilmour, remixes, Thelma Houston | 5 Comments »

Let’s Get Ill With Rappin’

February 16th, 2016

rappin

Rappin’ is the poor man’s Breakin’. No, strike that – it’s the poor man’s Breakin’ 2: Electric Bugaloo.

An all-but-forgotten 1985 hip-hop musical drama, it’s mostly known today for featuring an early starring role for Mario Van Peebles, as well as an early vehicle for Ice-T, whose featured more prominently in the film’s amazing trailer than the film itself. I’ve never seen the movie, but from what I’ve skimmed on YouTube I don’t think I’m worse for it. The soundtrack certainly is…something else.

I’ll be honest…this is one of those nights where I’m not sharing music that I would call good. I’m more…exposing you all to some musical history, artifacts if you will, from a bygone era that time has largely forgotten, rap’s first foray into the pop landscape.

It has not aged well. But let’s take a listen!

Lovebug Starski
Rappin’
The Fight Rap
A honest-to-goodness old-school hip-hop pioneer, Lovebug Starski started as a DJ in the late-70s before moving to rapping in the early 80s. He released several singles and one album, but he apparently went to prison sometime in the mid-80s, which put a serious dent in his music career. Dude still seems to be kicking it though, I found a video of him performing in 2008. I wonder how many other old-school pioneers have been lost to the ages?

Starski has two tracks on Rappin’. The first is the title track. It’s okay, although like most of the tracks on the album, his delivery seems rather stilted and simplistic when compared to what followed. I much prefer “The Rap Fight,” which is a dope electro tune with a sick beat and some totally ill synth lines. I would totally pop-and-lock to this one if my bones didn’t already pop-and-lock on their own throughout the day.

Melvin Plowden, Mario Van Peebles, Eriq La Salle, Kadeem Hardison & Richie Abanes
Snack Attack
This is a rap by the stars of the film, Mario Van Peebles, Dwayne Wayne from A Different World, the asshole doctor from ER and…two other dudes (more on the them in a minute).

In case you were wondering. Neither Mario Van Peebles, Dwayne Wayne nor Dr. Peter Benton from ER can rap. Not only can they not rap, they really can’t rap. And don’t forget, the standards for “good rapping” were pretty low in the early 80s. That’s not to say that the rappers of the era were bad, on the contrary, many are some of the best who ever lived, but the artform was new at the time. People were still figuring it out, the rules were still being made, so a lot of rap from the era is pretty simple.

With those limitations and expectations established, this is some bad rap that sounds horrible. Firstly, it’s a rap song about snacking. And, like I said before, this was the early-80s, but rapping about how much you like food? That was already well-trodden ground by The Fat Boys (who were amazing rappers FYI), so in addition to being a stupid topic for a rap track, it’s an unoriginal topic that’s been done better. I don’t know who’s rapping what line, but they’re all doing a horrible job. They got no flow, no rhythm, no meter. They’re just spouting out lines about food that rhyme. Well, they usually rhyme, at one point they do try to rhyme sardines with cheese and beans.

It’s even bad musically. Most great rap of the era was built off of solid samples or original electronic beats. This has neither, and is instead built off of a generic guitar lick and what sounds like a preset drum beat. Not to mention the piano outro that tries to give the track a jazzy feel, for some reason.

Peebles, Hardison and La Salle were all wise for not pursuing rapping further, but what of the other two on the track? Well, Richard Abanes is an experienced actor and singer, but he’s mostly known for his books. You may have seen them in the religious section, with titles like Harry Potter and The Bible, The Truth Behind the Da Vinci Code and What Every Parent Needs To Know About Video Games. I really wish he would take up rapping again, but only about these topics. Who would want to see a middle-aged Mormon rap about the evils of pop culture, “Yo now listen to what I have to say, Harry Potter is evil and he’ll make you gay!”

I couldn’t find anything as humorous about the mysterious Melvin Plowden, aside from the fact that he produced some forgotten rap tracks, including one called “You Ain’t Right Eddie Murphy.” If he was referring to Murphy’s then incredibly homophobic stand-up routine, yo Melvin, I agree with you.

Mario Van Peebles
Neighborhood Walk
“Rock Box” but bad.

The Force M.D.’s
Itchin’ For a Scratch
Now here’s an example of an old-school rap song that’s obviously dated but still great. A simple but catchy beat, some great synthesizer and, of course, some totally over-the-top scratching effects. The Force M.D.’s were a legit rap outfit with a long carer that produced a few minor hits, and it shows here. These guys got the rhythm down, and their lines are simple-yet-clever. The Force M.D.’s were mostly known for their ballads and love songs, but this track shows they had some solid old-school hip-hop skills too. An album highlight and a lot of fun.

Warren Mills
Flame In The Fire
The first of two pre-teen performers on this album. Mills is by far the better of the two because he can actually sing, but that’s faint praise. The production is about as generically 80s as you can get, it sounds like the bastard love-child of “Rhythm Of the Night” and a Pretty Poison song. And while Mills has pretty good vocal chops for a kid, he still sounds like a little kid. And there’s nothing I want to hear less than a little kid try to serenade someone.

The sax solo is pretty ill though.

D. Terrell
Call Me
Who is D. Terrell?

No, seriously, who is he? I can’t find anything on this dude. Can’t find anything on him online, I think this is the only song he ever wrote that made it to any release at all. It’s not all that bad. Not all that memorable either.  I feel like it belongs on the soundtrack to D.C. Cab for some reason.

Lajuan Carter
If You Want To (FU12)
I could be mistaken, I’m a little drunk and it’s been a long week. But I’m fairly certain that this is a song about wanting to fuck a robot. Literally. She says “I don’t need nothing but robot love.” Someone call Brent Spiner.

Lajuan Carter never released a full album proper but she’s had a decent career as a backup singer, appearing on the Set It Off soundtrack and on albums by Vanessa Williams and Darryl Hall. I don’t feel like this song really takes advantage of her voice, she kind of has a Vanity thing going on with a trying-to-be-sexy whisper voice. But she occasionally does let that soprano of hers rip and it’s pretty impressive.

Tuff, Inc.
Golly Gee
This album has too many shitty love songs by little boys who are all too fucking young to know what love is. This is the third one, and it is by far the fucking worst. Abysmal garbage. I don’t want to hear the lovelorn woes of little shits whose balls haven’t even dropped yet. You fucks. You don’t know what love is. You think love is holding hands after homeroom.

“What didn’t you know why he claimed to be true. He’s running around making a fool of you.”

What the fuck is that? What is this song suggesting? That the girl this kid is falling for has a boyfriend who is fooling around with other girls? What the fuck? YOU’RE TWELVE! When I was that age I didn’t know any kids who were prowling homeroom for pussy. Ick.

Eugene Wilde and Joanna Garnder
First Love Never Dies
The soundrack to the film Rappin’ ends with a quiet storm love duet, because…fuck if I know. This song is pretty awful, but I think that largely has to do with it being incredibly dated than anything else. In an alternate reality I could totally see this song being a top ten hit single and making an appearance on Solid Gold.

Joanna Garnder never really had much of a career, but Eugene seemed to have a few hit singles in the 80s. A quick search on YouTube turns up quite a few tracks, including the incredibly dope “Gotta Get You Home Tonight” which I can only assume was the early-8os equivalent of Boyz II Men’s “I’ll Make Love To You.” I totally bet that song would work on my boyfriend.

Posted in Complete Albums, soundtrack | No Comments »

Dungeons & Dragons on Vinyl

February 8th, 2016

I’ve never been into Dungeons & Dragons and I’m never going to be into Dungeons & Dragons, or any form of table-top gaming for that matter. Video games got me at a young age, and the idea of setting up a board and rolling dice while some dude tells me a story about wizards just never appealed to me in the least. I guess I just don’t get the appeal. I’ve tried several times too. I had friends in junior high, college and in my adult life who were way into D&D. Many of them tried to suck me in, all to no avail. But if they would’ve came at me with their 20-sided dice in one hand, and this rad 2LP set of instrumental electronic music in the other, they might have fared a little bit better.

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First Quest (Complete Album Download)
I didn’t know what I was expecting when I first dropped the needle on this record after finding it in a record store on the outskirts of Tokyo last week, but it certainly wasn’t a surprisingly above-average collection of minimal, John Carpenter-inspired instrumental electronic music. Considering the inspiration material, I guess I imagined something a little more classically-minded. Perhaps I was expecting a full-on symphonic score or some sort of symphonic metal. Although I guess the latter would’ve been impossible, as this album came out in 1985 and symphonic metal didn’t really exist as a genre at that time.

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Save for the final track, First Quest is entirely electronic, and while it features original music by a variety of musicians (of whom I’ll get to in a bit), the album has a fairly consistent creepy, vaguely dark, vibe that carries itself across all of the songs, regardless of composer. The previously mentioned Carpenter influence is strong with this one, echoes of Halloween are all over this record. But while the Carpenter comparison is the obvious one, when I listen to this I much more pick up the ambient stylings of Tangerine Dream, with a menacing hint reminiscent of Goblin’s work with Dario Argento.

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With pedigree like that I’m probably overselling it a bit. No, this album isn’t a lost classic that’s ripe for recognition, but it’s certainly worth a listen, and way better than you’d probably expect a cheap collection of instrumental electronica inspired by a table-top board game to be. It’s catchy, fits the inspiration material damn near perfectly, and it’s a lot of fun. If some asshole in a jean jacket and retro-style shades put this out in 2016 ironically, it would probably be an indie-hit. Pitchfork would give it a 7.6.

A total of seven different artists are credited as composers on First Quest. Of them, the most prominent is probably Denis Haines, who was a member of Gary Numan’s backing band for the recording of Telekon. That group went onto form Dramatis, who released one album in the mid-80s before breaking up. He also played on albums by Fischer-Z, The Skids and, strangely enough, Marianne Faithfull. Haines’ work on the record runs the gamut, with some being rather upbeat, and others a tad more dreary and ambient. A standout of his selections is “Gnomes,” an poppy yet dark number that I could easily imagine Gary Numan singing over.

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Click for hi-res.

Two other names that pop up a lot on First Quest are Phil Thornton and Dave Miller, who compose about half of the record. Together they were part of an early-80s synth-pop group called Expandis, who continue to release new music, and Thornton has a fairly prolific career as a solo musician putting out new age and ambient music (much of it sci-fi or fantasy themed). Based on their work here and from what I could find of Expandis online, Thornton and Miller probably dug the darker edge of early-80s synthpop and post-punk quite a bit. I bet they totally saw Echo & The Bunnymen live at least once. Their stuff here is good mood music that sets the tone for the album, but sometimes it falls a bit too far into new age territory for my tastes. “The Return Of Light” is a damn fine closer though.

Then there’s Steve Parsons, in addition to the handful of tracks he donated to this record, he also worked a bit as a film composer in the 80s, contributing songs to the superb Empire State soundtrack, and composing the horrifically bad score the the hideously awful Howling II. His tracks here aren’t that great, but I’ve read that the solo stuff he released under the name Snips is much better.

There’s also Barrie Guard, whose one contribution to First Quest, “The Heroes Ride Out” is an easy highlight. If his Discogs is any indication, Guard got a lot of work in the 70s and 80s, working for musicians as diverse as Bonnie Tyler, Dusty Springfield and Cliff Richard. He was also the orchestra conductor for the score to one of my boyfriend’s favorite films, A Room With A View, so the next time you want to connect Merchant And Ivory to D&D in just one step, there you go. Too bad he never stuck with the minimal electronic score thing, he was pretty good at it.

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The only group credited on First Quest is a band called The Device, who only show up for one track. Their tune isn’t bad, and is definitely one of the more Carpenter-inspired joints on the album. They didn’t seem to do anything outside of the album though, and I can’t find much about them. Finally, there’s guitarist G.P. Hall, who concludes the album with an entirely out-of-place guitar track. He has a fairly expansive Wiki entry that he probably wrote and should probably be deleted.

The album also features some brief snippets of narration by Valentine Dyall, who geeks will probably recognize as The Black Guardian from Doctor Who. He also starred in a shitload of British movies throughout the 40s and into the 80s before he passed away in 1985, shortly before the release of this album, hence his credit as “The Late Valentine Dyall.”

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The packaging for First Quest is rather elaborate, featuring a gatefold sleeve and two custom inner sleeves which feature printed instructions for a Dungeons & Dragons campaign that follows the (rather loose) story outlined in the album’s music. Not knowing much about D&D, I couldn’t tell you if the campaign is well thought-out or worthwhile in anyway, I’d love to hear insight from anyone who might know.

Not a great album, but definitely a fascinating one, and a wonderfully dated product of its time that I think is ripe for rediscovery by a more accepting audience. I hope you find it as fun as I do.

Posted in Complete Albums | 5 Comments »

Seductive poses with synthesizers and Japanese covers of classic tunes

January 26th, 2016

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A few months ago I posted some tracks from  イエローマジック歌謡曲 (Yellow Magic Popular Music), a collection showcasing tracks from Yellow Magic Orchestra associates. That album proved to be a revelation to me, and it served as a means for me to discover several other great Japanese electronic artists that I would’ve never known of otherwise, such as the wonderful Cosmic Intervention and the amazing Susan.

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This week I made an even bigger score that I suspect will lead me down an even more comprehensive (and no doubt, expensive) rabbit hole of Japanese electronic music when I stumbled upon four compilations of late-70s/early-80s dance music. Each one focuses on a different record label, and there are apparently nine in total, with the ultimate chapter dedicated to Alfa Records, the home of YMO.

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I was elated to find these CDs because up until now the overwhelming majority of 80s Japanese electronic albums I’ve discovered has been, in one way or another, related to YMO. Many were released by YMO’s own vanity label Yen Records, and even the ones that weren’t often featured various members of YMO performing on the albums. Sometimes YMO’s involvement was so strong that the albums were basically YMO albums in all but name, with the group serving as the backing band, producers and songwriters for various singers and idols of the era.

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While YMO’s influence can be found on these records, with even individual members Sakamoto and Hosono getting a few tracks on a couple of the compilations, I was happy to discover that most of the music on them is from outside their influence. Don’t get me wrong, I am utterly obsessed with everything even remotely associated with YMO, but it was nice to finally branch out and discover some new stuff.

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As you can probably expect, a lot of this stuff is lesser-known for a reason, and since I’m not interested in sharing tracks that are mediocre or bad without being interesting, I’m not going to share these records in full. However, I do suspect I’ll dip them from time to time to showcase any highlights I find from them, especially as I branch out and hunt down the other albums in the collection.

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Anyways, I know that Japanese electronic music from the 80s is kind of a niche interest, so I thought I’d start out by sharing some remixes/covers of tracks you’ll no doubt recognize. I hope that you can enjoy them and that you stick around and give the more obscure and unknown tracks a chance when I share them as well.

Paul Hardcastle
Nineteen (Japanese Version Extended Remix)
So, some 400 words talking about obscure Japanese remixes and I start things off with a track by a Western artist. I know, I don’t always think these posts through.

Regardless, this is a hell of a thing, and something that I had no idea even existed until this Monday. In case you haven’t heard the original version of “19,” (which I suggest you do) the track is an odd hybrid of early-80s dance music and anti-war protest song, combining a catchy dance beat with a sampled news program detailing the effects of post traumatic stress disorder suffered by Vietnam vets. It was a big hit in Europe, but it didn’t catch on so much in the states outside of the dance charts.

The original version’s narration is comprised of samples from an American news program, but for this version, those samples are removed and replaced with original Japanese narration by newscaster Kango Kobayashi. Apparently Hardcastle did this for several countries in Europe, but Japan was the only Asian country to get a unique version.

Aside from the new narration, this mix is a little different than the original version (or the equally known “Destruction Mix”) and features some additional sound effects in the beginning.

Kenji Haga
The Neverending Story
I don’t know if The Neverending Story was a hit film in Japan. I would imagine it must’ve been though in order for this to happen, a completely translated version of the film’s hit theme song. Haga is no Limahl and the production pales to Moroder’s original, but it’s still a catchy tune nonetheless.

Far more interesting than this cover is the life of Kenji Haga, a half-Japanese/half-American entertainer who worked as a voice actor in the 90s and 2000s, even voicing Ken in the Street Fighter II: V animated series. Apparently he fell on hard times after that though, and in 2007 he was arrested for blackmail and is currently behind bars.

Limahl would’ve never done such things.

The Targets
E.T. Theme
Yes, a cover of the theme to E.T., because why not?

There are countless disco covers of John Williams themes thanks to Meco, but I think this might be the only synth-pop interpretations of one of this compositions. It features original lyrics, but they’re in Japanese and sung over a vocoder-effect, so don’t ask me.

The Targets are a rather mysterious band. They released just one album in the 1980s (this song is not on it) and apparently that was it. I’d love to find out more about them so if anyone has any info, pass it along please. They seemed pretty good.

Posted in Uncategorized | 2 Comments »

I’m Still An Alligator

January 24th, 2016

Turns out I have a lot of David Bowie on my hard drive(s) and digging it all out/organizing it is proving to be a task better suited for some sort of digital archaeologist. Just counting songs that are properly tagged as David Bowie/Tine Machine I have about 1,300 tracks in my iTunes library. I know I have more buried somewhere though. And I’m fairly certain that I have some singles back in the states that I never got around the properly recording. That’s a real shame because there are a few gems there, including a weird 10+ minute remix of “Fame ’90.”

I continue to be amazed at how much David Bowie is in print now. If you want the 12″ remix of “Magic Dance” then you can go on Amazon and fucking buy it right now. AND YOU SHOULD BECAUSE IT’S AWESOME. You can even go online and get remixes to “Loving The Alien” if you so desired.

So basically I’m repeating what I said in my previous all Bowie post, if you like David Bowie’s music then you should really be buying his music.

Of course, this blog exists because that’s not always possible. So here’s some shit that’s worthwhile yet unavailable.

David Bowie
Fun (Dillinja Mix)
Dead Man Walking (This One’s Not Dead Yet Mix)
Under Pressure (Live)
Moonage Daydream (Live)
Some real oddities tonight.

First up is a remix of “Fun,” which is doubly weird because the non-remixed version of “Fun” was never commercially released as far as I can tell. I have no idea when it was recorded, the story behind it, or if any other remixes were ever made available in any way shape or form. I got this remix off of the Davidbowie.com exclusive Live And Well 2CD compilation. Most of the remixes from that set were made available when Bowie’s mid/90s output was re-released in 2CD sets, but it didn’t make the cut.

After that we have a unique remix of “Dead Man Walking” which I found off of a CD single to the song. Another mix that didn’t make the cut when Bowie’s 90s records were re-released. A real shame too because it’s one of the better ones. While most of the song’s remixes play the dance angle and crank it up to be a club banger, this one puts Bowie on the forefront and tones it down a bit, all while keeping its beat. It’s a cool take on a great track.

Finally, there are two live tracks, both taken from the CD-single to “Hallo Spaceboy.” The live version of “Under Pressure” is relatively faithful to the original save for the fact that the vocals are shared by Bowie’s amazing bass player Gail Ann Dorsey.  However, the live rendition of “Moonage Daydream” is an interesting departure from the original, stripping away a lot of what made it a glam rock tune and replacing it with some industrial/90s’-rock overtones. Bowie would do this a lot when he toured in the 90s, sometimes to more drastic degrees than others. The changes he made to this track are tame compared to how he totally re-worked “Andy Warhol” into batshit crazy drum and bass track during his “Outside” tour.

By the way, does anyone have high-quality MP3s of this 90s tours that they’d feel like sharing?

Posted in David Bowie, live, remixes | 7 Comments »

Boom Boom Boom Boom Boom…..Boom

January 17th, 2016

Oi what a shitball week last week was.

Still not entirely over Bowie’s passing. A few days ago my boyfriend came over and we watched highlights from the Best of Bowie DVD set. I was doing okay until I played “Life On Mars” and, just like I thought I would, I lost it for a bit. Never actually got emotional over a celebrity’s death before. It felt weird. I’m glad I never besmirched anyone for mourning the loss of a celebrity before. At least, I don’t think I ever did. Shit, I used to be right prick, so I won’t rule it out.

I’ll probably post some more Bowie this week or the next. But I’ve been pretty much drowning myself in Bowie since his passing, so I thought I’d mix things up tonight.

Boom Boom Satellites
Dub Me Crazy (Ver.02)
Bike Ride To The Moon
Low Blow (Instrumental)
Here you go, obscure remixes of songs you don’t know by a Japanese band you’ve never heard of. And I wonder why more people don’t read this blog anymore.

One thing about Bowie’s passing that struck me was how in line I was with the feelings of those I knew. We were all fucked up by the news. I feel that rarely happens this day and age. I almost never feel like I’m connecting on a pop culture level with the masses, let alone anyone I know. And I’m not saying that as a “boy people sure do like dumb shit these days” kind of thing (although sometimes I do feel that way), I’m more saying it in regards to the fact that media is more fragmented than ever before. In addition, my tastes these days tend to skew to hyper-obscure shit that doesn’t even score me cool kid hipster points.

Well, if anyone out there does dig on Boom Boom Satellites, I hope they enjoy these remixes. BBM is easily one of my top five favorite groups who are currently making music. Their insane blend of hyperactive rock music, pulse-pounding electronica, and the occasional foray into acid jazz (not that often, just enough to make it interesting) is still unlike anything I’ve heard in recent memory. If you enjoy these tunes, check out To The Loveless or On. Both are wonderful records.

Trans-X
Living On Video (’85 Big Mix)
Living On Video (Dub Mix)
There are approximately 8,504,321,459 remixes of this song, give or take a million. So I may have posted these before. Or they may be available legally under different names. It’s so hard to tell with b-grade dance acts like this, who seem to lease, sell or rent their back catalog to the highest bidder on a moment’s notice.

I first posted a remix to this track nine years ago. Which is another reminder to you all that I’ve been doing this blog for 10 years come this March. I’d like to do something to celebrate. Haven’t figured out what that might be though. So if anyone out there wants to drop a suggestion it would be appreciated. Be reminded that while I would enjoy reposting some old material, some of it is lost and/or of such bad quality that doing so might be impossible.

I also plan on purging my sidebar of dead links soon. So that’s something.

Posted in Boom Boom Satellites, remixes, Trans-X | 6 Comments »

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