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Bohemian Vendetta - Bohemian Vendetta Also in '67, they recorded demos and played various gigs at places like the Action House with bands like The Vagrants and Vanilla Fudge. They recorded an album for Mainstream in early '68 which took almost a year to be released and got no help from the label.

While waiting for the release of the album, they worked on Faine Jade's Introspection Lp. About this time they called it quits. Distortion Records recently released a niffty little album called Enough!. Easily one of the best on the label with lots of classy psych-punk originals and a truly unique vibe all through it. Superb titles, including the eerie 'Paradox City' and a wigged-out version of the Stones' '[I Can't Get No] Satisfaction' - fuzz guitar and tinny organ dominate the proceedings, just like you'd want 'em to!

She Always Gives Me Pleasure 3. All Kinds Of Highs 4. I Can't Get No Satisfaction 5. Paradox City 6. Images Shadow In The Night 9. I Wanna Touch Your Heart. Wasting no time from the breakup of the Mad Violets in lateguitarist and now vocalist Dino Sorbello grabbed Andrea Mathews on drums from the recently broken up Outta Place, and added Noreen Lewis on bass and located Bill Ebauer for keyboards in a Village Voice ad. After a quick gig or two at the Dive they set about recording their first self-titled Ep released on Voxx Records March which continues to sell to this very day.

An article in Vanity Fair magazine in June about the big 60s style resurgence featured a two-page color photo by Mary Ellen Mark, and some copy about the band, so instead of a kit, the band showed the mag around town to score some prestigious gigs.

By the group had new drummers, bassists, and finally decided to add a lead singer,former Ford model Sharon Middendorf. They were featured in a High Times cover story about the "Minds Eye" shows happening at the old Tramps Club where Joey Ramone, after seeing them, is quoted as as saying:" I was transported Two tours each to Florida and California, a fair amount of US airplay on college stations, and quite a lot of airplay in Europe, especially Greece!?

A few months after playing the Mind Circus event at Temple Universty in Philadelphia during spring the group was disbanded by Dino after certain members failed to commit for the next tour. Now you can hear all the previous vinyl-only releases along with a couple of previously unreleased studio and live rehearsal cuts combined on a brand new CD release from Tripwave! Door 2. Xmvt 3. Journey To Love-In 4. Evil Arms 5. Tripwave 6. Positive Source 7. Blacklight Chameleon Theme 8.

The Reverse 9. Poison Arrow Yeah You Fired Up The Surf Wizards Love Is A Mistery Getting Down Under Cross That Bridge Tehru The Slip Carried Away High Noon Spirit Speaking Black Lips - Let It Bloom Black Lips - Let It Bloom While most bands get tighter and "more professional" with the passage of time, Black Lips have opted to follow another path, and the Atlanta foursome dig deeper into the well of murky aural power on their third album, Let It Bloom.

While garage rock at its most blessedly crude remains the band's obvious reference point, guitarists Ian St. Pe and Cole Alexander aka Old King Cole Younger take their songs through enough twists and turns that no one is going to mistake them for either the White Stripes or the Chesterfield Kings, and the low-flying shards of guitar noise and echoing textures call up shades of the Fall, the Godz, the Cramps, the Witches, the early Velvet Underground think Clevelandnot the Banana albumand a few dozen other bands who enjoy playing around in the dark matter rather than burning out in the sunshine.

And while Black Lips don't sound much more "accomplished" than they did on their debut, they've gotten much better at working their magic in the studio, and Let It Bloom is their strongest effort to date, from the minor-chord stomp of "Punk Slime" and the sinister beachside romance of "Dirty Hands" to the French-accented dirge of "Hippie, Hippie, Hoorah" and the descent into the maelstrom of "She's Gone. Let It Bloom will creep out your neighbors and you can dance to it, and can you ask for more than that?

Sea Of Blasphemy 2. Can't Dance 3. Boomerang 4. Hippie, Hippie, Hoorah 5. Not A Problem 6. Gung Ho 7. Everybody's Doin' It 8. Feeling Gay 9. Gentle Violence She's Gone Fairy Stories Dirty Hands Workin' Punk Slime While James Leg aka John Wesley Myers on vocals and keys and Van Campbell on drums sounded tight and fiery the first time around, on their sophomore LP they sound tougher, harder, and practically incendiary; the duo's blues gestures are just as solid as before, but there's an emotional weight and an almost telepathic synergy between Leg and Campbell Dan Auerbach of the Black Keys produced and recorded these sessions, and while his approach feels pretty hands-off, the results suggest having a more sympathetic hand behind the board was a real help for the band.

And when a band's originals sound as good as covers of stuff by Tina Turner, Nina Simone, and T-Model Ford, there's no question it must be doing something right. In short, if you want to hear some blues-shot rock that'll kick your butt and make you love it, A Touch of Someone Else's Class is one album you need to hear.

Especially on Solid Gold where the organ playing starts to whoosh in unexpected corners of the song, cymbals crash like garbage can tops. A1-Nutbush City Limit 2. A2-Everythang Is Everythang 3. A3-Numbers 22 4. A4-Bidin' My Time 5. A5-Take A Ride 6. B1-Solid Gold 7. B2-Smoothe It Out 8. B3-Make Some Time 9. B4-Oh,Sinnerman B5-Loose Yourself I wanna love you 2.

Since you've gone 3. I don't care 4. I've told you 5. I will follow you 6. I don't know 7. Laughing at you 8. Who are you? Keep surfin' Without you Let you be I'm in love with you A girl like you demo A girl like you Bigger fool I don't care When you wake up in the morning I really like you Tambourine Man 3. House Of The Rising Sun 4. Marie Elena 5. Bo Diddley 6. Memphis Tennessee 7. What The New Breed Say 8. Take It Or Leave It 9. Linguica Susie Q I'Ve Got A Woman Moulty Hey Little Bird You'Ve Got To Understand Bo Diddley - The Chess Box His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range.

In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Bo's called "that freight train sound.

The A-side was soaked with futuristic waves of tremolo guitar, set to an ageless nursery rhyme; the flip was a bump-and-grind, harmonica-driven shuffle, based around a devastating blues riff.

Diddley was never a top seller on the order of his Chess rival Chuck Berry, but over the next half-dozen or so years, he'd produce a catalog of classics that rival Berry's in quality. Oddly enough, his only Top 20 pop hit was an atypical, absurd back-and-forth rap between him and Jerome Green, "Say Man," that came about almost by accident as the pair were fooling around in the studio.

As a live performer, Diddley was galvanizing, using his trademark square guitars and distorted amplification to produce new sounds that anticipated the innovations of '60s guitarists like Jimi Hendrix. The Rolling Stones in particular borrowed a lot from Bo's rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Mona" and "I'm Alright.

Buddy Holly covered "Bo Diddley" and used a modified Bo Diddley beat on "Not Fade Away"; when the Stones gave the song the full-on Bo treatment complete with shaking maracasthe result was their first big British hit. The British Invasion helped increase the public's awareness of Diddley's importance, and ever since then he's been a popular live act.

Sadly, though, his career as a recording artist -- in commercial and artistic terms -- was over by the time the Beatles and Stones hit America. He'd record with ongoing and declining frequency, but afterhe'd never write or record any original material on par with his early classics. Whether he'd spent his muse, or just felt he could coast on his laurels, is hard to say.

Unfortunately, his namesake also gets him mislabeled as a one-trick pony. This two-disc set does much to remedy the situation, tracking through and featuring all the hits. However, The Chess Box also displays Diddley's rock and blues versatility, from the reggae-ish before there was reggae "Crackin' Up" and the Who's onstage hard-rock anthem "Roadrunner" to the wonderful formerly U. The sides filling two discs in this handsome boxed set also show that the Mississippi native who was raised on Chicago's South Side has a guitar and voice acute in blues intonation and a penchant for lyrics that are barbed-wire sharp with irreverent humor.

The accompanying twenty-two-page booklet includes a Robert Palmer essay, sessions details, and remembrances by Diddley. Two discs 45 songs in a great big box with a nice accompanying booklet contain the groundbreaking introduction "Bo Diddley" never again would he be referred to as Ellas McDanielits swaggering flipside "I'm a Man," the killer follow-ups "Diddley Daddy," "I'm Looking for a Woman," "Who Do You Love?

DISC 1 1. Bo Diddley 2. I'm a Man 3. You Don't Love Me 4. Diddley Daddy 5. Pretty Thing 6. Bring It to Jerome - alternate take 7. Bring It to Jerome - master 8. Diddy Wah Diddy 9. I'm Looking For a Woman Who Do You Love? Down Home Special Hey Bo Diddkey Mona I Need You Baby Say Boss Man Before You Accuse Me Say Man Hush Your Mouth - alternate take Clock Strikes Twelve, The Dearest Darling - alternate take Crackin' Up I'm Sorry Mumblin' Guitar She's Alright 2.

Say Man, Back Again - alternate take 3. Road Runner 4. Spend My Life With You 5. Cadillac 6. Signifying Blues - extended version 7. Deed and Deed I Do 8. You Know I Love You 9.

Look at My Baby LP, however, stands firmly with one foot on either side of the generational divide. The year-old Inglewood native is an ardent formalist — his lyrics enunciated and in the pocket — with an ear for beats that smack of bygone eras of west coast rap while evoking the same paranoia as the music of his peers. His first projects, Notorious and Still Notoriousincluded multiple guests on virtually every song. MackkRuccihis collaborative album with the late Sean Mackk, proved he could hold his own for more runtime.

While he was still sharpening delivery, his charisma and raw talent were undeniable. Throughout, plinking keys and minor chords sound between bouncy low-end that will test the strength of your rearview.

Rucci ricochets between each portentous kick and snare, his momentum mounting with each bar. The pain and ceaseless anxiety may soon be behind him. Mitski, who is unafraid of dark and foreboding sounds but who has a preternatural gift for pop, will flit from despair to a performance of optimism, from heartbreak to global warming. The sound is not radical, though it is unsettling, designed so that the hooks string you along into uncomfortable territory. More accurately, JPEGMafia is to contemporary hip-hop as Frank Zappa once was to rock: too clever to buy into either straight society OR the shallow performative wokeness that his peers are using to sell a couple of records.

By the end ofJPEGMafia was on the cusp of something far bigger than Veteran — covering a Backstreet Boys single and working with Kenny Beatz on a grime track hints at his potential to take his high wire act to a far larger audience.

Whatever may come next however, no album captured the frustration of dealing with bad faith arguments and dogmatic assholes quite like Veteran.

Why not say what happened? His father died when he was one. As a child, a tympanostomy tube held one of his ear canals open, and he now has permanent hearing loss on that side.

A metal rod holds his tibia together. Homeless as a youth, institutionalized on and off, and moved among Kansas and St. The fire rises from there. When critics say things like this, you take them to task. When an artist says things like this, well, you turn to the art.

The streak culminated this year with Wolf of Grape Streeta track mixtape that swirls paranoia, lust, love, and the Album) pair of sorrow and mania.

The songs are more direct and feel pitched to the broader audiences. Greedo himself will soon enter a Texas prison for a term of at least five years. Prior felonies and a specious police stop in rural Texas in brought a potential year sentence. He pled out. As the story has it, Greedo has about songs in his back catalogue, ready to keep his name alive while he waits out another purgatory in bondage.

While he is gone, his music seems fated to soundtrack the next few years of whatever happens to Watts and to Los Angeles and the youth of this nation. Nicolas Jaar has never chosen to speak to us how others do, but he has always had something to say.

The transmissions come via unfamiliar channels: chanted lyrics, inscrutable release schedules and ambient alternate soundtracks to s century Soviet films. It was protest mapped onto unfamiliar and alien terrains, shot through with secular and melodic discord alike. The project that Jaar quietly slid onto the online store of his record label this February, released under a rarely-used alter ego and left to go unnoticed for nearly a week, is a surprising departure from the difficult path he has forged.

Our foremost electronic explorer has found beauty in constraint — A. It sounds like a memory we already had in our possession: music we had already lived with before ever hearing. The result is a fearlessly foundational album, both present and past. Even at his most chaotic Jaar is never aimless: and there is a message here, just not coded how it has been in the past.

Even as he vaporizes dense breakbeats and lush, liquid currents into something hazy and incorporeal, the smoke always hovers and resolves into signals.

Instead, he finds hope in repetition. Even in its disorientation and dissonance, each broken loop always finds a new groove, a new home. It is both constancy and perseverance. If Sirens was a screed, — is a sermon: chopped up and delivered piecemeal through the mouths of others and its words warped through time to re-emerge decades later, spiritually intact. And today, it sounds like what any proper, endless night should sound like: dancing through two in the morning, faltering at four, and gasping at six, a heart-racing hurtle towards the morning.

During the final throes of the great depression, the self-help pioneer and sometime scammer, Napoleon Hill wrote what was intended to be his masterpiece: an imaginary dialogue with the devil, where Satan demanded to be addressed as your majesty and revealed the secrets of his timeless gift for treachery. He told me that it mostly reiterated knowledge already acquired growing up in the Hundreds, and surrounded by the thieves vainly trying to manipulate him behind the walls. Hill also called himself Mr.

Everything or Mr. In his last weeks of that month jail stint, the South Central native procured a cell phone, which enabled him to unleash a legendary streak of shit talking from behind bars. Should you ever doubt the chimerical genius of Darrell Caldwell, consider that he wrote a song personifying a luxury department store to convey his utter disdain for his rivals who will never have a personal shopper—all while wearing the county blues.

If his first three mixtapes hinted at Hall of Fame potential, this is evidence of full mastery— the complete transformation into the devil, the vampire, the Grinch, and the motherfucking cookie monster.

The best Christmas villain since Hans Gruber. Robert Johnson returning to Clarksdale wielding an original blues revolution that could barely be traced to previous permutations of sound. The allegation that he stole his lingo from the Schoolyard Crips is an exaggeration so ridiculous that it reminds me of when Superb claimed that he ghostwrote Supreme Clientele. The hieroglyphics are as cryptic as Ghostface Killah in his prime, but bear no resemblance to that tradition. A quantum leap that sounds like when Snoop first emerged a quarter century ago— purposeful and iconoclastic, apart from regional trends but still shaping them, relaxed and effortless but precise and poisonous.

The caliber of taunting rivals vintage 50 And Cam. The bounce of ratchet, but hijacked, possessed and used as brutal artillery.

A sound perfectly tailor-made to his muddied and dense torrents of syllables that somehow run counter-clockwise to the beat but never feel off-balance.

Of course, there is the doomed reality that haunts this album. Thus, the chaos surrounding this record makes it feel even more monumental. There are two collaborations with Greedo too. Instead, Greedo rots in a penitentiary in Western Texas, his momentum stalled by drug charges that threaten to sideline him for years to come. Only OhGeesy is free to prosper and remind us what could have been — at least until they all come back home.

If they ever do. Even if this winds up the high point of this moment in LA rap, it will be enough. Cold Devil is a modern West Coast classic, sacred evil built to soundtrack high-speed chases and blunt cruises for decades to come—even if might not make sense to the rest of the world for another 75 years. I put a word in with the record stores that new me and bought used music from customers, but it took months before I finally stumbled into one at Schoolkids in Raleigh, NC.

And as my jaw dropped reallyI looked below it to find the other. They were slightly mangled, but fully playable, and I was happy as could be when I walked out of the store that day.

While J. Callum was diagnosed with Spinal Muscular Atrophy SMA and the medical bills related to this are not the kind that are easy to deal with, so the vinyl release was announced as partly being another fundraiser for that reason. Between the excitement of the announcement—as well as the news that bonus tracks would be included—and the fact that part of each sale was going to help Callum, it was kind of a no-brainer to order up. Still, I was basically broke—between jobs, to some extent—so I worked out an advance Christmas present order from my parents to make sure I could get my hands on both, worried as I was about them disappearing.

I selected the colouring of this one out of the three available, much as I did with Mission: Control! The availability of the two records from Arctic Rodeo themselves hints at something that surprised me in the album selection: Mission: Control! It makes it interesting, then, that both Mr. Moffett and two people who did vote picked it in the end. Arctic Rodeo packed the record in a resealable plastic sleeve, with the record in a plain white paper sleeve outside the actual cover to keep it from being split in transit—a nice bit of care that not even used sellers often bother with.

Robbins projects does not provide, though they still have stock of both albums. Eventually, some more of their releases should be showing up in this blog, once they arrive the label is in Germany, and has a smaller staff, but are very good about what they do.

Now, I said that Mission: Control! There was no intermediary period where I only had one to wear in before I heard the other, which I think is a decent part of what keeps that impression burning with fans. The guitar is no longer riffing and clanging metallically, but quavering in slightly dissonant waves. After running through this chorus a second time, a wandering series of notes ended with chords is backed by a wonderfully smooth, looping sort of bassline from Harbin.

The whole thing swings, but not swing like a swing band, more like a pendulum with a groove to its arc, bobbing just slightly, moving forward instead of standing in place. Not a song to sneeze at, and a perfectly reasonable selection for inclusion on a release usually intended to function as representative as with Jawbox, the version appearing on the split is a different recording, so far as I can tell. Mike is again playing a chopped up bassline, but this one sounds like going up and down a few stairs at a time, then pausing to consider.

I spent a lot of my writing about Jawbox talking about the mighty Zach Barocas which I apparently was right to do, in his eyesand Moffett shines in this band. This is also an opportune time to point out that when J. On the surface, the opening of the song would be normal were it not for the skronking bend that appears at the end of each repetition. At open, J. It finds its feet again, though, regaining its control and returning the original chorus. Then a near drum solo turns to spacey stretching and repetition from J.

Did I say Peter got to shine earlier? Go back and forget that. The opening of the title track is something else. The ringing harmonic-style sound J. Quiet and warm, J. Often an appropriate choice for latter ends of albums, J. A wobble snakes in and out of the part, but J. The band worked from a demo outline to create the song. Harbin anchors, and J. The solo J. A delightful addition, really. I thanked Peter Moffett earlier for nudging me into a final decision regarding albums, but I should also thank J.

Then backpedaled a bit. One of the most bizarre things I ever read was the series of negative reviews for their two albums on Amazon that complained that they sounded like new albums from Jawbox. Not even repetition—actual evolution. It boggles the mind even now.

There are so many bands and sounds I wish I could get more of, instead of complete disappearance or lackluster retread. Here we have a band that actually is distinctly different, even as it ties backward. Not in a bad way if it was a bad way, Jawbox would not be one of those albums that somehow worms its way into my regular listening all the bloody timebut in a way that just felt a part of the sound.

The harmonic leanings—most definitively apparent in Mission: Control! Oh, yes: also membranophones and ideophones. Yeah, I really read all of the liner notes. An amusing parallel to J. Next Up: Kate Bush —? I want my humanity back. I want to be a human being again. I want to live in a fair world. Engineered by Mickey Alexander. Produced by Travis Stever and Mike Major.

Mixed and Mastered by Mike Major. First: It has been quite a while. And Christgau is often too acerbic for my tastes anyway. As soon as it's there I'll get on it. Richard H. Estil C. Here you go folks. Forgive the delay, Diana. Ty Segall - Caesar - Singles Folks - I'd like to take credit for tirelessly editing out all the commercial breaks Perhaps because these shows are clocking in a little longer than usual? I miss them.

Strange, I know, but I live on that little rain soaked pile of moss in the Atlantic called Ireland.

I like hearing about a world where the sun actually exists. Folks - the wait is over!!! Many many thanks to Steve C for helping out with the file for this weeks show. He was an absolute gentleman whislt I got my finger out of my technophobe ass. And many thanks to you for your patience. Without further ado. X-Ray Spex - Oh Bondage! Up Yours! Reatards - Sat. Stuff Acme Sewage Co. They were also too rock oriented for country-rock fans, and too bright and commercial for progressive fans.

Maybe not the most album ofbut thoroughly enjoyable from start to finish. In support of the album, Epic put them on the road opening for Deep Purple, but that did little for sales.

Her mom later changed her name to Goldie Zelkowitz, Ravan taking her birth name back when she formed the band Ten Wheel Drive. When her parents left Poland, they went into a Russian camp. I never had an aunt or an uncle, I had two brothers, they died. I never met my grandparents, it was me and my sister and my mom and dad. They came from big families and saw all of them die.

We escaped to the U. We were DPs and went straight to Ellis Island. Young Goldie Zelkowitz never knew she could sing until in her late teens "then I picked up alto sax, drums, and harmonica. She remembers it was the summer because: "I had pants that showed my belly button, they could not get their eyes off it. All girls in a man's music world LP as daunting a task as a woman trying to become president of the United States.

Genya Ravan released an album a year starting in with Ten Wheel Drive's Construction 1 on Polydor, up to the release of Goldie Zelkowitz on Janus, but created her most popular recordings on 20th Century Fox in and when she released the self-produced Genya Ravan, her first solo disc which Columbia released after she left Ten Wheel Drive, was the catalyst for Ravan producing herself.

Perhaps the most shocking thing about the record is that it is the only one she recorded for Columbia, a place that seemed like the perfect home for a woman with so many talents. Clive Davis originally wanted Richard Perry to produce, and it wasn't the fact that he was Ravan's first boyfriend that the idea was nixed, his pop work with Carly Simon was not what this artist is about.

But "Brandy" was more pop than "You're So Vain" if you think about it. It is a pure document of her transition. She takes Rod Stewart and the Faces superb and little recognized "Flying" and makes it her own, a tune she would continue to perform live in concert. It is an amazing thread of events, with players from both the Rolling Stones and Janis Joplin filtering through her recorded work, and where this album could have been Columbia Records replacing Janis Joplin with Genya Ravan, the singer Codine - The Litter - Distortions (Vinyl to take her music into a realm where Diane Schuur would feel at home, rock influenced by jazz rather than high-powered blues rock.

Indeed, the final track on side one, "Takuta Kalaba," is blended into "Turn on Your Love Lights," a song Janis Joplin did with the Codine - The Litter - Distortions (Vinyl Dead if memory serves on one of the live tapes of theirs that has circulated over the years, so there was this thread, though the result is degrees from where Joplin took it.

Genya Ravan did not want to fill the Janis Joplin void for Mr. Davis -- she wanted to be herself. Clive told her, "You are either a rock singer or you're a jazz singer, but you cannot do both," and maybe for short-term marketing he had a point, but for longevity and vision, the Larry Fallon-produced "I'm in the Mood For Love" is exquisite.

Fallon had come from a jazz band with Jimmy Miller, who coincidentally produced Genya Ravan's next album for his production company, released on ABC Dunhill.

James Moody's saxophone solo is thrilling, and a real touch of class. The cabaret atmosphere seguing into the African drum sound of Michael Olatunji and his "Takuta Kalaba," which was released as a single in Europe. Brilliant material which would certainly stifle the Janis Joplin comparisons.

The soulful rendition of Leonard Cohen's "Bird on a Wire" was tracked long before Cohen was considered chic. The single was the idea of Clive Davis, and it is beautiful, the style of music that Bette Midler was having success with at this point in time. Genya Ravan is an album brimming with this creative woman's personality, talent, and amazing vocal prowess. Monday, November 6, Sweet Salvation - Sweet Salvation us, solid funk blues rock, edition. Unfortunately due to business mis-steps and bad timing it was not meant to be.

They were very much connected to Allen Toussaint and the Meters, but maybe heavier in sound and style, closer to rock.


Mors Lille Ole - Berit Nyheim Og Kjell Bjørklund - Folkeeie (CD, Album), through luckgrid, The Fox - Electric Light Orchestra Part II - One Night In Australia (CD), Applebite - Soundgarden - Down On The Upside (CD, Album), Drop The Filter - Robert Hood - Fabric 39 (CD), Im A Believer - Les "Pros" - Boum Bomo Disque N°8 (Vinyl), The Profits (Tugnutt) - The Undertoad - The Toad Collection (CD, Album), Take Me Baby (Finnish Bass Boy Mix) - Jimi Tenor - Take Me Baby (CD), Die Wiener Sängerknaben - Wiegenlied (Vinyl), Underground Forest - Truth Behind The Curtain - Truth Behind The Curtain (CDr, Album)