Who Can Dance?

November 4th, 2010

So maybe someone can explain this one to me?

Here’s the video to Bryan Ferry’s single You Can Dance, taken from his latest album Olympia.

Now here’ s the video to Hell’s “U Can Dance”, released in 2009 and taken from the epically amazing album Teufelswerk.

And yes, I know the videos don’t fit in the frame…I’m working on it.

This annoys me on a couple levels. First there’s the fact that someone, either Bryan Ferry or Hell, is really lazy. Either Hell took a yet-to-be-released Bryan Ferry track (with permission), remixed it, and called his own. Or Bryan Ferry lifted his own vocal track from the Hell track and recorded his own version of it. On Olympia the track is credited to Ferry and David Stewart of the Eurythmics. I don’t have a physical copy of Teufelswerk, so I don’t know who is credited as the songwriter on that version. If Hell is the sole songwriter then I’m even more confused. Anyone out there have that album and want to confirm this?

But what also annoys me is that NO ONE is mentioning this in their reviews of Olympia, and album. Granted, Hell isn’t exactly a common name in America, but you think some German rock critic would have heard Ferry’s track and gone “Wait a minute” (except, y’know, in German). I’ve read a few reviews of Olympia and not one person has called him out on it. It wasn’t even on the freaking wiki for the album until I added it myself.

Whatever, I guess its not that important. I’ve heard very good things about Olympia, and I can tell you first hand that Hell’s Teufelswerk is one of the best albums of the decade that you should fucking buy right this second you bastard. I’m listening to it as a I type this very sentence. (so what I’m saying is, I recommended it). But I find the whole situation with “You Can Dance/U Can Dance” to be utterly confusing.

Bryan Ferry/Roxy Music
Let’s Stick Together (Westside ’88 Extended Remix)
Nocturne
Angel Eyes (Twelve Inch Mix)
The Price of Love (The R&B ’89 Extended Remix)
Lover
I do not know enough about Roxy Music and I am personally ashamed by that. I need to own more of their music. More specifically, I need to get me a copy of Country Life on vinyl because that cover might be the hottest thing in the history of things that are hot. Someone sold a bunch of Bryan Ferry singles at Jerry’s Records last week…so now I own a few Bryan Ferry singles. These tracks are from said singles. Some are credited to Ferry, others to Roxy Music. They’re all prety good. The remix of “Let’s Stick Together” especially so. Warning: The single for “The Price Of Love” looked like it was dragged through a pile of broken glass. I fixed some of it, but there’s still a bit of scratchiness in it. I couldn’t take it out without hurting the overall fidelity of the song. It’s not that bad after the first minute.

Posted in Bryan Ferry/Roxy Music, remixes | 7 Comments »

The Summit in Columbus and Diesel in Pittsburgh, a Tale of Two Shitty Venues

October 29th, 2010

I went to four concerts (and an AMAZING Zombie Opera) in two weeks. So…I’m kind of insane. For those interested, the concerts were Jill Sobule, The Octopus Project, Foxy Shazam and The New Pornographers.

I go to many, many concerts, but four in two weeks is a lot even for me, especially since the Foxy concert was in Columbus and I am in Pittsburgh. Making that three and a half hour trek back at 12:30 was really fucking stupid. Even stupider was that the New Pornographers show was the next day, meaning I slept about five hours, woke up, worked, then drove to the concert, which was thankfully in Pittsburgh. By the end of that show I was about ready to sleep for 80 hours.

The Jill Sobule and Octopos Project concerts very fun. Sobule is still a blast to see even in the tiniest of venues, and The Octopus Project remain one of the most intense live acts I have ever seen. I even reviewed The Octopus Project show. You should read that.

I also reviewed the Foxy Shazam show. Read that. Read about how Foxy Shazam was nearly ruined by the shittiness of The Summit in Columbus.

I touch upon it in my review, but allow me to elaborate. The Summit in Columbus is a shithole. A horrible, hard-to-find, disgusting shithole. It has nasty bathrooms (even for a dive bar) and a shit bar that doesn’t serve water! No, for that you have to go to a self-serve cooler where you pour water into dixie cups. Yeah, that’s sanitary. There was no lock on that cooler either, meaning anyone could spike it with anything.

But worst of all, the place sounds like shit. The aucoustics are junk and the sound system looks like its held together by duct tape and a dream. Like I say in my review, Foxy Shazam’s audio kept cutting out during their set, because the sound system wasn’t powerful enough to handle them. It’s too bad that Eric (the lead singer of Foxy) lost his cool during the show and took it out on the promoter, because I talked to the promoter beforehand and he seemed like a really nice, really cool guy. Maybe that explains how he got sucked into booking a show at such a god awful shithole. My advice to that guy is to cut his ties with anyone at that blight upon Columbus and find another dive bar to book shows at, maybe one with a professional sound guy.

While The Summit at Columbus sucks, there is a bit of purity to its suckiness. When you walk into a dive like The Summit, you don’t exactly expect quality sound and sanitary bathrooms. That’s what makes Diesel in Pittsburgh a way worse place to see a concert; it looks like it should be a great place for a show. The stage is well lit, there appears to be plenty of room to see the band from wherever you are in the club, and the bars look well stocked and clean.

The reality is that Diesel is by far, one of the worst places in the country to see live music. Each end of the main floor is bookended by these bizarre raised sections that are nearly the height of the stage. That makes them a great place to see the show, but it also means anyone behind them won’t see shit.

It’s even worse on the second floor, which is a balcony that surrounds the main floor below. The entire balcony is lined with VIP seating areas, complete with couches and tables. These look really neat, and I’m sure they are a great place to do coke on a Saturday night, but they screw everyone else over. While a group of 4-8 people enjoy the lush VIP area, the poor masses huddled behind them can’t see shit because they can’t get close enough to look over the VIP’s heads. And I couldn’t see shit, and I’m 6’6”, so that is saying something.

The biggest problem with Diesel is that it sells its shows to capacity, and when that place is filled to capacity its impossible for everyone, or even half the audience, to get a good view of the stage. Its a giant clusterfuck that’s really hard to explain, but take my word for it. In the event of a sell out I would venture that at least 30-40 percent of the crowd wouldn’t be able to see shit for the entire show.

And the place sounds like shit because, as Neko Case pointed out during the New Pornographers’ set, the entire place is coated from head to toe in relfective surfaces.

I don’t to go out on that negativity, so let me end with a recommendation. If you’re in Pittsburgh and want to see a show, go to Mr. Smalls. That’s the best live venue I’ve ever been in. It has perfect acoustics, a nice bar and even the bathrooms aren’t that terrifying.

Blur
Black Book
Bustin’ + Dronin’
Headist/Into Another
Metal Hip Slop – Graham’s Bugman Remix
Money Makes Me Crazy (Marrakech Mix)
So You
Tender (Cornelius Remix)
Trade Stylee – Alex’s Bugman Remix
My ratio of “Amount of Blur singles I own” to “Amount that I actually like Blur” is crazy out of whack. Don’t get me wrong, I dig Blur, but I only  own three proper Blur albums (and none are Parklife) while I own about a billion Blur CD singles, an import copy of Bustin’ + Dronin’ and even a few 12” singles.  Why? They were cheap. And in the case of some of these, I needed to hear me some remixes of Bugman. I love that stupid-ass song. I posted slightly shittier sounding versions of “Bustin + Dronin'” and the remix to “Tender” before, but the rest of these are all new and taken from CD singles I picked up a few months ago. “Headist/Into Another” is amazing by the way.

Rihanna
Umbrella (Jody Den Broeder Destruction Radio Edit)
Umbrella (Jody Den Broeder Destruction Remix)
Umbrella (Jody Den Broeder Lush Club Remix)
Umbrella (Jody Den Broeder Lush Radio Edit)
Umbrella (Seamus Haji & Paul Emanuel Radio Edit)
Umbrella (The Lindbergh Palace Dub)
Ela-ay ay ay. Why not? These are from a promo CD single I bought used for a buck. I love this song.

Posted in Blur, rant, remixes, Rihanna | 7 Comments »

This Post is about a Drum Solo…and David Bowie

October 22nd, 2010

I recently bought the super-awesome-deluxe version of Station To Station. I even reviewed it and gave it five stars. I would have given it 50 if given the chance. It’s amazing, one of the best special editions I have ever bought. Not only does it sound incredible, but it has all kinds of neat goodies and bonuses that really give you a good bang for your buck. It even includes an entire concert, recorded at the Nassau Coliseum in 1976.

Well, not an entire concert. It’s missing a a drum solo from “Panic In Detroit.”

I know that drum solos are not the most…exciting aspect of live music. I recall being subjected to a drum solo at the end of a Coheed & Cambria concert that made me want to fly to Canada and beat the shit out of Neil Peart just to make an example. But still, it’s part of the show! And if this deluxe version of Station to Station really is a historical document, then it has to be there! But I guess if you have to cut something you have to cut something…

Oh wait, it’s included as a “bonus track” on the digital download edition?

Fuck. That. Bullshit.

I paid $150 for the super-deluxe version. It includes five CDs, three LPs, a DVD and more random memorabilia and random goodies than you can shake a Thin White Duke at. Why the hell can’t it include the complete version of the concert? Or even a download card that gives you a code to the uncut version of the song? I’m effectively being punished for being a die-hard fan with money to burn.

Depeche Mode did the same thing with the deluxe edition of Sounds Of The Universe. If you shelled out the big bucks for the deluxe version of that sucker, you got two bonus discs with demos, remixes and B-sides, but you didn’t get them all, there were some “exclusive” tracks that were only available if you bought the iTunes Pass version. So if you wanted everything from the album you had to buy it twice. At least, that’s what they wanted you to do. If you were like me you bought one and downloaded the shit off the other. Or if you’re really like me you found out most of the “exclusive” tracks were really remixes from 12” singles and you just bought those. I, of course, put many of those songs online. So you can see where this rant is going.

David Bowie
Panic In Detroit (Unedited Version with fixed opening and closing)
Panic In Detroit (Original Bootleg Version)
Cat People (Australian Promo Extended Version)
I caved and spent the two bucks to by the track on Amazon. And it’s a pretty good extended version/drum solo. But even its fucked up a little. Has a fade-in and fade-out, while the rest of the tracks on the album seamlessly segue from one to another with no lapse in crowd noise or stage banter. So if you want to incorporate the song into a playlist with the rest of the concert, or replace the cut version with the longer version altogether, there’s a rather noticeable cut when you get to the song.

Well, until I fixed it.

So here’s what I did. I bought the “Unedited Mix” of Panic In Detroit and cut the beginning and end of the regular version into it. so if you replace the original version with this extended cut you won’t notice any sudden cuts or gaps in audio. I also gave it the correct album name “Live Nassau Coliseum ’76” and track number. So if you want, you can download this version and replace the cut version you already have with it.

But here’s where it gets interesting. The Nassau Coliseum concert was heavily bootlegged over the years. I myself have a bootleg of it called The Thin White Duke. The version of “Panic In Detroit” on the bootleg is different, and is actually about five minutes shorter! I don’t know if that’s so the song would fit on a vinyl record or if the version on the official release has overdubs. If you can figure it out let me know.

Finally, I’m also re-uploading the Australian version of Cat People, which is the longest version of that song available. I have no reason for this other than the fact that it’s pretty awesome and I felt like putting it up again.

Posted in David Bowie | 11 Comments »

Viruses, Audio Editing, Big Asses and the new Ministry Sucks

October 18th, 2010

First, some reviews. I haven’t linked to my reviews in a while and that has gotten me complaints (from my mom). So here we go.

Ministry – Every Day Is Halloween: Worst album of the millennium so far.

David Bowie – Station to Station Deluxe Edition: The best re-issue ever. Also, the best sounding vinyl record I have ever heard. And in case you can’t tell, that’s really saying something.

The Orb featuring David Gilmour - Metallic Spheres: Duuuuuuuuuude. Get it now.

Marnie Stern – s/t: Good follow-up to her amazing sophomore record.

Skunk Anansie – Wonderlustre: Shocker. I liked it. “Talk Too Much” is a beautiful and absolutely heart-wrenching song.

Oh, and good news! If you click on my wonderfully ugly logo you can go to the main page now! Thank anonymous Lost Turntable fan person for that!

Okay, now for some geeky shit. If you are not technically inclined you might want to skip down to the tunes.

My computer got a virus (that laid dire straits to my environments) on Friday. Don’t worry, my music was safe (I back that shit up) but I lost all my programs, media tools and shit like that. I was able to re-install my Creative Labs program that I use to record my vinyl, but as of right now I do not have a copy of the program I use to edit/restore my recordings, which is Sony Sound Forge Audio Studio. I might not be able to get another copy of that because of the arcane way that Sony handles online orders. If that’s the case, I will not be purchasing another copy of it, because..well..fuck them.

So right now I’m looking into recording/restoration software, preferably software that costs less than a hundred bucks. Now I know what all of you geeks are thinking, “Hey asshole, why don’t you just use Audacity? It’s awesome and free!”

Well, you’re half right. While Audacity is a great free program that is really handy for simple editing/recording, it leaves a lot to be desired. Its interface is clunky as hell, and navigating a sound file to remove/repair audio imperfections is a royal pain in the ass. Maybe someday Audacity will be great, but it sure isn’t now. So if anyone has any recommendations that are not Audacity please leave them in the comment section or shoot me an email.

Now to get really geeky. I’m thinking about partioning my hard drive and installing Linux. I need to use Windows for work, but I would like my primary OS to be something that is open source and less prone to viruses. I’ve been doing a bit of research and found Ubuntu Studio, which sounds pretty awesome. Its a version of the Ubuntu operating system with a bunch of high-end A/V software built-in. Anyone out there have any experience with it? Is it worth giving a shot? Or should I just stick with regular Ubuntu? Or maybe another Linux variant all together? Any input would be appreciated!

But enough of that geeky shit for now, here’s some hip-hop.

The Beastie Boys
Alive at Youch’s House
Alive (Remix by Evidence for the Dilated Peoples)
Any word on Yauch’s health yet? I got nothing else to say about the Beasties other than that I miss them and I want MCA to kick cancer’s ass so we can all hear The Hot Sauce Committee. These are from a white label 12”.

LL Cool J
Big Ole Butt (12” Remix)
This song is…horrible, but in all the best ways. And it’s not just horrible because it’s about LL ditching his girl for a girl with a bigger ass (and then ditching that girl for another girl with an even bigger ass), it’s horrible for lines like “you look like tastier than a nice and hot pizza” and “I went to Red Lobster for shrimp and steak/Around the time when the waitress are on their lunch break.” I would call it misogynist if it wasn’t just so fucking stupid. Still, I can’t help but love it, in all its ass-happy glory. This is from a 12” single that was sadly not shaped like a big ass.

De La Soul
Itzsoweezee (Hot) (De La Sould Remix)
Stakes Is High (Remix)
“Itzsoweezee” totally makes me want to smoke some weed. Which is quite a task considering I’ve never smoked weed in my entire life. “Stakes Is High” is good too, but not nearly as groovy. Both of these are from a 12”.

Posted in De La Soul, LL Cool J, remixes, The Orb | 8 Comments »

I’m Sure The Punisher Rocks Out to Power Ballads too.

October 11th, 2010

I have much to say about the music tonight, so lets just get to it.

Nicki French
Total Eclipse Of The Heart (Extended Mix)
Total Eclipse Of The Heart (Mobius Loop Mix)
Total Eclipse Of The Heart (Radio Edit)
Total Eclipse Of The Heart (7” Edit)
So I have a theory. That theory is that “Total Eclipse Of The Heart” is the greatest song of all time. What? You going to argue that with me? Try It.

“Total Eclipse Of The Heart” is one of the most perfect songs ever written. What I mean by that is that Jim Steinman wrote it with the intention of writing a bombastic, over-the-top, brilliant power ballad and that’s exactly what he did. He created exactly what he wanted to. To me that’s the most important measure of success; creating what you intended to. I think the only song that is more successful on that level is “Layla” since Clapton wrote with the sole intention of impressing Pattie Boyd enough for her to sleep with him, and it worked.

Some people call the song a “guilty pleasure.” Those people can fuck off. Chuck Klosterman once said that songs can’t be guilty pleasures, because for something to be a guilty pleasure it has to hurt you or someone else. Cocaine, he said, is a guilty pleasure, not a seven-minute power ballad. I don’t think “Total Eclipse Of The Heart” ever killed anyone, unless it was by the sheer power of its awesomeness.

I love “Total Eclipse Of The Heart” because it’s just bombastic enough. Yes, there are songs more over the top than this, and yes, Jim Steinman wrote most of them. I think when he gets crazier than this song he just takes it too far.  For example, there’s “It’s All Coming Back To Me.” I like some versions of that song, but it’s really just too much. It’s too romantic, too over-the-top, too crazy. But that”s not surprising when you find out it was inspired by the scene in  Wuthering Heights where Heathcliff digs up Catherine’s corpse and dances with it.

But this song is just insane enough to work perfectly.

The original version was of course performed by Bonnie Tyler, but this dance/house version by Nicki French is fucking great, and almost as good as the original. The only thing that really holds it back is French’s voice. She can sing, don’t get me wrong, but she’s no Bonnie Tyler. This track makes me want to dance like a mental patient, sing karaoke and hold up a lighter all at the same time. Which is probably dangerous, so I won’t do it.

Supernova
Justice (Mix+Magix Clubtool)
Justice (Nikos vs. Porcell Remix)
And here’s a dance track that features a vocal sample from Dolph Lundgren’s version of The Punisher. Because this blog post wasn’t stupid enough already.

Posted in Nickie French, remixes | 6 Comments »

A Whale Of a Blog Post

October 7th, 2010

Word.

Look, sometimes I don’t have much to say.

Tears For Fears
Pale Shelter (You Don’t Give Me Love) (Extended Version)
Pale Shelter (You Don’t Give Me Love)
Saxophones as Opiates
I never noticed this until now, but between the title track, “Mad World,” “Ideas as Opiates” and “Pale Shelter,” The Hurting is probably one of the most bleak and depressing albums of all time. It’s amazing what you can get away with when you throw some catchy dance beats in there. The Hurting came out when I was all of three years old, so I missed it. I did, however, rock out heavily to Songs From The Big Chair, which came out when I was a much more mature five years old. I seriously have a very vivid memory of three kids in my first grade class running across the playground singing their own version of “Shout” which went “Fart! Fart! Let it all out!” over and over again. I don’t think there’s a better sign of a song permiating the American culture than a bunch of six-year-olds in Ohio creating their own scatological remake of it.

“Pale Shelter” has an odd release history. It was actually the group’s second single (originally released under the longer name you see above), but it failed to catch on in the UK. After “Mad World” blew up the band’s label re-released the song, but in a different mix (and shorter title). That later mix is the version that appears on the album. It too has its own extended mix, which weas included on later editions of the album on CD. No version of this original mix has ever been included on CD as far as I can tell.  To be honest it’s not that different, the biggest difference  in the beginning; the older versions starts off with a  backmasked lyric, while the album version does not. Still, it’s an awesome song, and any mix of it is worth a listen. “Saxophones As Opiates” is a b-side from the “Mad World” single.

In case you’re wondering, the backmasked lyric in the beginning of “Pale Shelter” is  “the sickness in the system is an amplification of the sickness in the individual.” That’s totally deep, yo.

Whale
Crying At Airports (Remix by Shawn J. Period featuring Mos Def)
Crying At Airports (Friend’s Wigga-No-No Remake)
I know next to nothing about this group. I bought the single because it had cool art and Mos Def is on it. It’s groovy little trip-hop/dance tune and worth a listen. I really dig the “Wigga-No-No Remake” with it’s drum-n-bass inspired breakbeats. Curious after hearing the tune, I did some research and found of that Whale had a pretty big hit in Europe with their first single “Hobo Humpin’ Slobo Babe.” I went to YouTube to check out that track and…I think I’m done checking out Whale. Yikes.

Posted in B-sides, remixes, Tears For Fears, Whale | 15 Comments »

This post is Yellow. And not in a Racist Way.

October 1st, 2010

It’s funny, now that I got a good turntable, I can finally go through the 8 billion records I’ve been wanting to record for the past six months. Good news for all you guys. That means a lot more posts. I guess it’s good news for me too, but it’s also more work, so I think it kind of evens out.

Yellow Magic Orchestra
Tighten Up (Long Version)
I love me some YMO, but this track is pretty annoying. The exaggerated fake Japanese voice is what really gets me. Although “Everybody’s doing it! Even David Bowie’s doing it!” always makes me laugh. This is from a 12” single.

Hardfloor vs. Yello
Vicious Games (Hardfloor Remix)
Vicious Games (Remixed by Boris Blank & Olaf Wollschlager)
Vicious Games (Vorsprung Durch Technik Remix)
This is a remix of a Belgium Swiss dance track by a German acid house duo, making it the most European shit ever. I have a problem with Yello. The problem is that whenever I buy any of their singles I listen to them once and then listen to my remixes of “Oh Yeah” ad nasuem until I have dreams that Ferris Bueller is going to take me on a magical Chicagoland adventure where one of my best friends eventually tries to kill himself but it all somehow works out in the end. Oh, and Jennifer Grey shows up, but she has her old nose still so I know who the hell she is. Yeah, anyways, this is NOT that song, it’s a different song that was also on Stella. Good track, good remixes, especially the first one. These have a few scratches on them, but nothing severe.

Posted in Yello, Yellow Magic Orchestra, YMO | 4 Comments »

Dystopian Soundtracks of Future Past

September 30th, 2010

I’ve been complaining a lot lately (Just lately? Shut up. Shit, I’m talking to myself). so maybe its time to share some good news.

I got a new turntable! And it’s AWESOME.

For those who want the specifics, it’s a Stanton SR-80. It’s a direct-drive model with a bunch of bells and whistles I’ll never use, and a straight-arm as opposed to a curved one. Now, I know straight arms are worse for records, but they also cut down on skipping, so it’s worth it for me. Besides, I usually only listen to a record a couple times at the most before I record it. After that I really never listen to it again unless I find a mistake with the recording.

But most importantly, it sounds AMAZING. No RF interference, no varying speed due to a worn down belt, no motor noise, no hissing, no nothing. Just pure, beautiful music. One of the problems with my last turntable was interference, it was even a problem after I got an external pre-amp. When it wasn’t radio stations busting through my audio signal, it was just annoying white noise, ruining any quiet moments a record had. That’s why I wasn’t able to record this album until now.

Edgar Froese – Kamikaze 1989
I know very little about this album and movie. Let’s get the easy shit out of the way. For those of you who aren’t retarded  New Ave/Ambient fans (and why aren’t you?!?!) Edgar Froese is the sole continuous member of Tangerine Dream, a group that started out as a Krautrock band before slowly morphing into electronic/ambient mellowness, but in the best way possible. You probably know Tangerine Dream like I do, from their soundtracks, because they’ve done a shitload. Near Dark, Legend, Thief, Sorcerer, Risky Business, Firestarter and about a billion other flicks all feature scores by the German keyboard fanatics.

Oddly enough, I’m pretty sure that this is the only soundtrack that Froese created under his own name. Like I said, I know very little about this movie. It is apparently not very good if this incredibly negative review is to be believed and the only thing worth mentioning about it is that it was the last film to feature the legendary German director Rainer Werner Fassbinder, who died the same year it came out. It’s a dystopian sci-fi fantasy that takes place in the far off future of 1989 (it was made in 1982). And since everyone knew in 1982 that the future was synthesizers, it must have made sense to get Froese to do the score.

If the movie does indeed suck that’s a damn shame, because the soundtrack is pretty good as ambient electronic music goes. Sure, there’ s not always a lot to it, but it is supposed to be background music after all. I’ve always had a soft spot for ambient music, I don’t know why. It really goes against everything I usually like in music (fast beats, high energy). Maybe it’s because everything that I do while listening to ambient music sounds incredibly important and mysterious. Right now I’m listening to Tangerine Dreams’ soundtrack to Sorcerer, and it really gives the imprssion that the shit I’m typing is totally fucking epic.

Anyways, if you like Tangerine Dream type stuff you’ll dig this. If not, avoid it.

Posted in Complete Albums, Edgar Froese, soundtrack | 2 Comments »

Orbital and such. Look, It’s 1:30 AM and I had a shitty weekend, I don’t always need to give you a witty title.

September 27th, 2010

You know what sucks? Many many things.

Oh, you want something specific? Okay, iTunes 10. I had to upgrade to that abomination when I got my new Shuffle, but holy fuck and a half, it’s a disgusting looking resource hog that makes navigating my freakishly huge music collection very difficult. Shit snags all the time. So don’t get that shit unless you have to. And even then, try to avoid it.

Orbital
Nothing Left (Tsunami One Remix)
Nothing Left (Way Out West Remix)
Much Ado About Nothing Left
Nothing Left Out
These four remixes feature Allison Goldfrapp. I interviewed her once for a magazine article – and that’s all I’m going to say about her. These are from a 12” promo single

Band Of The Hand Original Motion Picture Soundtrack
Someone who is a glutten for bad Bob Dylan asked for this to be re-upped. Good luck with this one man.

Lori Carson
Fall In The Light
From the soundtrack to Strange Days. Another repost. I’m trying to up my karma. Maybe that’s what I need.

Posted in Orbital, soundtrack | 3 Comments »

I’m not typing any more umlauts unless Lemmy makes me.

September 15th, 2010

Björk
All is Full of Love (Funkstorung Exclusive Mix)
All is Full of Love (Strings)
All Is Full Of Love (Live in Brussels)
Human Behaviour (Close To Human Mix – Speedy J.)
Human Behaviour (Underworld Mix)
Human Behaviour (Dom T. Mix)
Human Behaviour (Bassheads Edit)
Cocoon (Retangled by Ensemble)
It’s In Our Hands (Arcade Mix)
It’s In Our Hands (Soft Pink Truth Mix)
So Broken (Live on Jools Holland)
This is the second all-Björk post by me this month! It’s crazy. Maybe I should add umlauts to the title graphic? No, fuck that, I hate typing those fuckers. I either have to dig out a macro key or find one I already wrote and cut and paste it everytime I want to use it. I don’t know how the Icelandic, Norwegian and Swedish bloggers handle it without going insane. I posted a couple of these mixes before, but I still recommend downloding them even if you have those old versions because these are rips from CD singles. As I said before, I think it must be a rule that all Björk vinyl sounds like shit. I have never bought a used copy of a Björk 12-inch that didn’t look like it was handled by someone who had steel wool for hands.

BTW, “rectangle” cannot be made into a verb. I don’ care what Ensemble wants you to think.

Posted in Bjork, remixes | 8 Comments »

« Older Entries
Newer Entries »