Size isn’t everything but… my third installment for The Vinyl Factory‘s Freaky Formats series is all about odd-sized records – check it out here.
Records
Yes, you read that right, Stolid Seal, not Solid Steel unfortunately as this mix got squeezed out of the selection process due to an overflowing number of guest mixes piling up for the show. I asked Glyn and PK from The Dandelion Set to do a mix last year after the band had played at the Delaware Road event in Reading. To me this is prime SS material and he’s done a sterling job but alas, it wasn’t to be. But, by the miracle that is the internet, you can still hear it and see what you’re missing.
I’ve featured The Dandelion Set before, way back when their releases were confined to digital only, and I’m now pleased to learn that their debut album is coming out on a favourite label of mine, Buried Treasure. It also features the sleeve notes, lyrics & vocals of none other than Alan Moore (surely no introduction necessary?) among others. Inhabiting the worlds of folk, radiophonics, jazz, psychedelia, library music, soundtracks and spoken word, the album is packed with over 20 tracks and enough tricky time signatures to require some very deep listening. ‘A Thousand Strands’ is out April 22nd on CD, LP, cassette (yes!) and download from Buried Treasure. Beautiful cover too
The, by now, ubiquitous Ghost Box post when they release a new record (they’re not paying me, honest). Hintermass – a collaboration between Jon Brooks and Tim Felton – just came out on LP, CD and DL and lovely it is too. Next up is an album by Belbury Poly (at last!), Jim Jupp‘s recording alias which is coming in May. Download these two posters HERE.
The vinyl heads among you may want to jump sharpish over to the Drumetrics store and secure a copy of this gorgeous op art-covered, die-cut triangular picture disc and sleeve (300 copies only). If you don’t know about Drumetrics then you need to visit their site
Sleeve way better than the music
One of the first ever rap records, we all know ‘Rapper’s Delight’, Fatback Band‘s ‘King Tim III’ and ‘Christmas Rapping’ but this is up there from 1979 as well.
German pressing of these two Pierre Henry classics
The Hintermass LP arrived yesterday in all its summery glory, just check out that artwork, good enough to eat. As with all things Ghost Box it’s another piece of Julian House wonder, how he does it I do not know, always different but always quintessentially ‘House’. The music is a new collaboration by Jon Brooks (The Advisory Circle etc.) with lyrics on half the tracks by Tim Felton (Seeland / ex-Broadcast). A mixture of folk-tinged songs and ‘Krauty’ electronica, it’s too early to fully comment at the moment but on first listen I’d say it’s worth it for the last track alone. Listen and buy here
A few weeks ago, when I played the Resonance FM fundraiser at The Book & Record Bar, I gave Zoe ‘Lucky Cat’ Baxter a couple of Ultraman 45s from my collection as a present. I’d picked them up in Japan over 15 years before and had bought them in to an OST show with Jonny Trunk years ago, more to show him the sleeves than to play the music. I met Zoe for the first time there as she has the show before Jonny and she recently reminded me that she was wildly coveting the records back then as she loves East Asian culture.
They’d been sitting in my collection for years, unplayed and unseen, so I thought, ‘why not give them to someone who will appreciate them more than me?’, seeing as we were on the same bill. She’s already put them to good use by including them in an Ultraman special on her radio show and showing off the covers on her Instagram (see above and below). She has a wealth of information on the show and it’s nice to know that they’ve gone to a good home.
Thanks very much to Josh from Posthuman for putting me on his excellent radio show, there’s no chat in this one due to studio gremlins and my mix begins about 58m mins in.
The world’s first ever all 45 Acid mix? There’s a 7 day download link in the comments too
Yes I am biased, as two of my closest friends are part of the group, but, true to the golden rule of this blog – that I don’t post anything that I don’t personally love – this needs to be featured. I was lucky enough to wangle a digital file of the B side, ‘All Hands On Deck’ out of the crew last summer and played it as the last track in a gig in Russia where it finished the night in fine style. An uptempo cut with a triple DJ cut jam between Ollie Teeba, DJ Woody and Mr Thing that should leave scorch marks at any B-Boy jam. You can preview & buy the 45 or DL now from here
Taken from the Audio Arcana blogspot: this is an incredible find in the discography of Ken Nordine; a 7″ EP of the original Fuller Paint Company adverts that went on to form the basis for his classic album, ‘Colours’. These versions are markedly different from the ones on the Philips LP and a new track, ‘All Colours’ shows up at the end. More info and full download HERE
Found the other day in the middle of the West End, was only looking wistfully at one on eBay the other week. Inside the cover, the contents are beautifully preserved with the slotty having never been assembled. The version of Humpty Dumpty on the flexi, by Roger Hyslop, actually breaks into an uptempo funky arrangement halfway through! There are two more slottys in the range but this is by far my favourite.
A new all-45s mix I did for the 45/7 Vinyl Club (not to be confused with the 45Live crew but the aims are similar). Each guest is asked to provide a mix made from vinyl 45s only, answer 5 questions and choose a unique hand-painted cover which they are then sent with a special 45/7 Vinyl Club 7″.
Click into the mix link for the interview and, as there’s no track list provided, here it is below
Dr. Donald B. Louria – Is Marijuana really dangerous? (Teach Records)
DJ Shadow – This Time (I’m Gonna Dub It My Way) (Universal / Island)
Sixtoo – Incedental 1 (Bully)
Dr. Donald B. Louria – Does LSD increase creativity? (Teach Records)
Controller 7 – Wandering Song (Bully)
Primal Scream – Kill All Hippies (Creation)
The Giallos Flame – Vultures feat. Wolf People (Analog Screams)
Cavern Of Anti-Matter – Total Availability and the Private Future (Peripheral Conserve)
Blues Explosion feat. DJ Shadow – Fed Up & Low Down (Edit) (Mute)
The Go! Team – Grip Like A Vice (Memphis Industries)
Paul Weller – Rip Up The Pages (Lynchmob mix) (Island)
The Protein Bros – Drainpipe (Rural)
The Edgar Winter Band – Frankenstein (Epic)
John Rydgren – The Noise (Teach Records)
Beck – Mixed Business (Geffen)
Chaps – Ascension To Virginity (Decca)
The Zutons – Why Won’t You Give Me Your Love? (Deltasonic)
Ocean Colour Scene – Hundred Mile High City (MCA)
The Soundcarriers – Boiling Point (The Great Pop Supplement)
D.O.T. – Say Your Prayers (Twisted Nerve)
The Dirty Feel – Get Down (No Label)
Toolshed – Pazuzu (Theme From Exorcist II) (Black Deck)
The Giallos Flame – Italia Violenta (Analog Screams)
Alan Copeland – Mission Impossible/Norwegian Wood (ABC Records)
This Sisters of Transistors LP had passed me by when it was released in 2009 although I remember hearing a remix of one of the tracks by Hot Chip that really floated my boat. It was a project featuring Graham Massey and four female organists if the sleeve notes be believed and there a fair few of them, weaving a tale of lost music and organ quartets that goes back to the second world war. It comes encased in a white plastic sleeve with sealing sticker and silver logo screened on the front. The design is by ehquestionmark who you might know from all the amazing work he’s done for the Skam and Lex labels and the attention to detail, as with all his work, is second to none.
Inside we have a sleeve with a front cover like some vintage classical performance document and a back showing a the band setup with Graham at the center and the four organists circling him in a sea of swirling wires. The real treat is the large insert which comes with it though, loose leaves with punched out ring binder holes, library stamps and the cheesiest set of band photos ever. Straight out of some 70s accountancy firm or teachers end of year book, the players – all given aliases – couldn’t be more convincing with muted green/brown tones and outfits and hair to match.
The music is a real mix, almost uncategorisable, of course organs feature heavily but it’s more complicated than that. There’s distorted grooves, fuzz, female chants and harmonies, lots of live drums and the whole thing has the air of a mass or seance about it. The pieces are all reputedly from different eras of the 20th century so styles flip constantly. All in all I think this will become one of those overlooked curios, collected and coveted by those in the know in the future. You can buy it digitally from iTunes as the label seems to have no obvious shop, or Discogs is a good bet for physical copies. See the covers being assembled in the video below, including the special undies randomly inserted into some copies
I know I’ve written about this before but I’ve finally finished reading Stephen Coates‘ ‘X-Ray Audio’ book, about how underground bootleggers from the Soviet Union used to cut forbidden music onto old X-Rays. It’s a fascinating read in a time when we have pretty much any media we desire at our fingertips. It tells of a time where just possessing certain records could get you in serious trouble or even thrown in prison. Having to buy forbidden songs for huge amounts of money that were sometimes not even on the disc or of a fidelity so bad that they were virtually unlistenable.
But what it highlights most of all is the power of music, what lengths people will go to to hear it and when they do, the effect it can have. This quote from an interview with Kolya Vasin really stood out, he became known as ‘The Beatles Guy’ and he recounts first hearing ‘All My Loving’.
“When I heard them I felt something so phenomenal, even the great Little Richard whom I had adored faded for me. They enlightened me, it was insane. Little Richard was atomic happiness but The Beatles were insanity, something else, the limit, something unexplainable. And I understood everything… I felt in them a holiness. It was freedom.”
The Vinyl Factory also recently premiered a new short film about the phenomenon that they’d made with Stephen
I put this pile of 45s down in a mix last week, possibly the world’s first all 7″, all-Acid mix? I’ve been collecting acid tracks on 7″ for a while now and, when Josh from I Love Acid asked me to do a mix for his I Love Acid Radio slot, I thought this would be the perfect slot to showcase them. The mix is due to debut on March 10th, I’ll post a link here when it does. Pete Isaac from 45 Live is also a big acid 45 collector and we’ll be doing something in that vein later this year…
Acid on 45 is a pretty niche area, a lot of the releases are UK pressings as several tracks made the charts at the end of the 80s and record labels were still pressing 7″s alongside the 12s to get radio play. There are also a lot of european singles from around that time too, tracks that were big in countries like Belgium, the Netherlands and Spain but won’t maybe be known elsewhere. In the 90s a lot of acid on 45 is confined to the more uptempo almost gabba-techno kind and there are slim pickings to be had until the 00s when the sound made a resurgence back into techno.
Records about plants, flora and fauna
Tonight at 8pm US PST (tomorrow 4am UK time) I’ll be the featured guest mixer on the 45 Live Radio Show, hosted by Greg Belson on Dublab in LA. The hour-long mix takes in Rock, Pop, Psych, Hip Hop, Electronics, Breaks, Funk and more. My mix starts 32 mins in but Greg drops some ridiculously rare gems too.
French promotional catalogue / magazine for the CBS / Epic labels from 1969, comes with a 3 track 7″ of Spirit, Al Kooper and Sly & The Family Stone tracks.
The second of my ‘Freaky Formats’ features just went up on The Vinyl Factory site. This second installment focuses on Op Art sleeves which speak for themselves really. Check it out and there’s a link to the first one about 3D covers too, there are more in the pipeline so look for them roughly monthly…
I found the record above at a carboot sale around 1987 in a muddy sports ground in South Park, Reigate. It was shortly after I had started to ‘dig for breaks’, inspired by hip hop and sampling, in as much as a skint 17 year old could ‘dig’ in a small town 30 miles south of London with only an Our Price, a Woolworths and one other indie record shop to excavate. I had no idea what this was but, with a cover like that and on a label called Weird World, I wasn’t about to leave it in the box.
There were no track titles and for good reason; ‘Shake Your Ass’, ‘Bad Fuck’, ‘Suck It’ and ‘Spread Your Cheeks’ were some of the delights contained within. But I knew the signs were good: black artist, 70s release, the word ‘Disco’ put me off a bit but there were all those other LPs on the back too. Who was Blow Fly? The dude in the mask and home made super hero (villain?) suit presumably, and why were all these women naked around him? The ‘For Mature Adults Only’ sticker needn’t have been on there, it was pretty obvious that this wasn’t for kids.
I got it, probably cost 50p, and never showed my parents that particular cover. It contained enough profanity to sink a ship as Blow Fly took established songs and changed the lyrics to suit his dirty mind. The classic ‘What A Difference’ took ‘What A Difference A Day Makes’ and turned it into ‘… A Lay Makes’ while ‘Suck it’ paraphrased ‘Do It ‘Til You’re Satisfied’. Purile stuff for sure and the blueprint for every Blow Fly album I’ve ever heard since but hilarious stuff to a teenage boy. With no internet it was impossible to find out more about the masked man and it wasn’t until I started touring the States in the late 90s, buying from a wider range of records, that I found out who he was and picked up the other albums on the back cover.
The Fly was the alter-ego of Clarence Reid, record producer and songwriter since the 60s, who had started changing the lyrics to hit records for a laugh at parties. Recording an album of them, he created the Blow Fly persona to protect his respectable career name and the rest is history. ‘Disco’ isn’t his best album (and he got sued good and proper for that ‘What A Difference…’ cover) but I’ll remember it with the most affection as it was the first one I found and for introducing me to his weird world. RIP Clarence Reid aka Blow Fly.
