Dilated Choonz: other

You Have - In Your Big Shorts

Hal Berstram — Thu, 24 Jun 2010 07:53:00 +0100

Frank Sidebottom – Guess Who’s Been on Match of the Day

I was devestated by the news this week that Chris Sievey, the creator of one of the greatest ever musical performers – Frank Sidebottom – had died of cancer aged only 54.

One of the first conversations I had with Alboy was discussing Frank’s set at Reading Festival 1991 which I only saw part of I am ashamed to say, but it was wonderful. And this track used to come up a lot in casual conversation.

There have been other attempts to do great music with only a Casio keyboard and a sense of humour – John Shuttleworth, my old mate Foley from school, the later work of Steve Winwood, and others. But none of them have a papier mache head so they just can’t compete.

You’ll be sorely missed, Frank.

Frank on the t'interweb :: repository of all things Sidebottom

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Campaign tracks (4)

Hal Berstram — Wed, 05 May 2010 20:45:00 +0100

For the Labour Party:

BBC Sound Effects – Train Crash

And so to New Labour.

I thought long and hard about what song would best capture the momentum of the campaign. There were several strong contenders, e.g:

Wedding Present – “Everyone Thinks He Looks Daft”
Led Zeppelin – “Nobody’s Fault But Mine”
The Smiths – “I Started Something I Couldn’t Finish”
New York Dolls – “Personality Crisis”

and I came very very close to putting up 10cc’s “I’m Mandy, Fly Me”(!?)

But in the end it had to be “Train Crash”. Courtesy of a 1977 BBC Sound Effects LP called “BBC Sound Effects No. 16: Disasters”.

It’s a rather sedate crash to be honest – maybe that was state of the art in ‘77. Nowadays we expect a little more bloody and guts… and I think there will be plenty of that tomorrow night when the count starts. :-(

It’s been a fun election, but I’ll be honest, it looks like it’s gonna be a real train wreck of a result. But I could be wrong about that… we’ll see.

Buy it here :: at Discogs on vinyl (not surprisingly, it hasn't been reissued on CD!)

Campaign tracks (3)

Hal Berstram — Tue, 04 May 2010 21:30:00 +0100

For the Liberal Democrats:

Wendy Carlos – Title Music From A Clockwork Orange

I was stuck for one to put up for the Lib Dems for some time: possible candidates included Stealers Wheel’s “Stuck In The Middle With You” (Nick Clegg would particularly like the line “clowns to the left of me, jokers to the right”) and anything by Yellow Magic Orchestra.

But the Lib Dem posters I’ve been seeing around (zilcho in my constituency of Witham, but squillions in Colchester, where they are defending the seat) look more orange than yellow. They have a very 1974 feel about them (and more to come from 1974 tomorrow, as I post up a special boot-sale find) and the seventies seems in retrospect to have been a very orange decade. Orange and Brown. (but not Gordon).

Anyway this is an absolute classic. The soundtrack album for the Stanley Kubrick movie A Clockwork Orange, banned for several decades in this country on orders from Kubrick himself after a couple of dweebs in boiler suits started beating people up (the ban has since been lifted and not a boiler suit in sight – Burberry, yes, but that’s not in the film I don’t think) was performed by Wendy Carlos on her gigantic modular Moog synth.

Carlos first came to prominence with the Switched-On Bach LP in 1968 which featured painstakingly assembled multitracked renditions of Bach chamber and small orchestra pieces on the Moog. The Clockwork Orange soundtrack mixes her renditions of pieces by Beethoven and Rossini with original compositions.

The track I’ve posted here is the title music, which is based on a theme by the English composer Purcell but sets the scene for the film perfectly – dark and moody. Overall it’s a great album, ranging from the avantgarde stylings of “Timesteps” to the ludicrous Benny-Hill style speeded up version of the “William Tell Overture”.

If only most of today’s film composers were allowed to demonstrate 1% of the ingenuity on display here.

Note that although I’ve provided a link to a reissued expanded CD version of this soundtrack, the vinyl, like all early Carlos, is not hard to come by – these were the most successful of all the “Moog” records of the “electronic easy listening” boom of the late 60s through to mid-70s (even though Carlos’s output was much more highbrow than your average easy listening fodder), and so they probably turn up in vast quantities at charity shops and car boot sales near you. I’ve sourced this off the vinyl for that authentic seventies snap, crackle and pop.

CD reissue :: of soundtrack album at Discogs (with extra tracks)

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The genesis of sampling?

Hal Berstram — Thu, 05 Mar 2009 09:53:00 +0000

John Cage and David Tudor – Variations IV (excerpt)

Now here’s an interesting piece of experimental work which could perhaps be one of the first extended uses of sampling (or indeed ‘DJ mixing’) in the recorded medium. John Cage (1912-1992) was a brilliant (and/or notorious, depending on your POV) American composer who spent most of his career exploring the role of chance processes in music. The typical Cage compositional process involved the composer setting up a system for producing music (e.g. rendering star charts as musical notes, or using the I Ching to decide performance length, number of performers, and the score each would play) and then accepting whatever came out of the process. Sometimes this made the results unlistenable to most of us (although Cage would probably have argued that the term ‘listenable/unlistenable’ was meaningless) but sometimes he happened on the most amazing sonic innovations through this technique.

“Variations IV” is a series of excerpts from an audio-visual installation at an art gallery in Los Angeles which Cage set up with friend and fellow composer David Tudor in 1964. The sound sources consisted of tape decks, radios and record players, plus some microphones inside the gallery itself and outside in the street. These were mixed and broadcast in the gallery and recorded to tape for later mixdown and release as an album.

What you’ve got here is an excerpt from the proceedings between 7pm and 8pm. Pretty random stuff, but a massive influence on later artists including Orb, Future Sound of London, Scanner etc. And a good listen in its own right – I particularly like the banjo at 1:55 or so. The poor quality of some of the vinyl reproduction (whether due to worn records, knackered styli, bad original recording, or was that just what record players sounded like back then?) adds to the charm.

More weird and wacky stuff as I get time to post it.

Buy 'Variations IV' on CD (US import) ::
Buy 'Variations IV' on MP3 download :: at emusic

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crafty hols post

Kevvy K — Tue, 19 Aug 2008 17:04:00 +0100

Patti Smith – Piss Factory

Sorry folks for prolonged radio silence on my part. Between running around like a blue-arsed fly at the climate camp for more than a week and then almost immediately running off on much needed hols, I haven’t had the time to devote to the old blogarooney.

But before I did bust a move from the not so green and pleasant land, I did have the presence of mind to upload 3 songs that I have had on fairly heavy rotation of late, with the intention of blogging them proper from a crafty Iberic cyber-caff, which is I am now. The problem is with this first track, is that I hadn’t taken into account just how incongrous the song is with my current mood and surroundings.

The song – everyone’s favourite proto-punk poetess gets all free-associative and consciousness-streamy on the degrading futility of Mc-Wage Labour in the rather unpleasnt sounding Piss Factory, over very jazzy, driving piano shenanigans that somehow give me great plasure.

And me – ensconced in bourgie pleasure in a flat overlooking the beach, swimming twice a day, taking in obscene amounts of sun, reading trashy paper backs, drinking icey beers all day and being fed by two octogenarian Spanish matriarchs who manage to effortlessly dispell by attempts to induce more equitable gender roles in the kitchen.

They don’t quite go together… I can’t actually listyen to it anyway, so I hope it might have more immediate resonance or meaning to some of you out there. My hols are only for the two weeks so will be seeing you all back on the Piss Factory floor soon enough.

According to wikipedia, this was the b-side to the first single released by the Patti Smith Group and “describes the helpless anger Smith had felt while working on a factory assembly line and the salvation she discovered in the form of a shoplifted book, the 19th century French poet Arthur Rimbaud’s Illuminations.”

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Say it loud - I'm MOR an' I'm Proud!

Babe Rainbow — Thu, 26 Jun 2008 21:41:00 +0100

Langley Schools Music Project – Sweet Caroline

Miss Rainbow here is still in a state of excitement after seeing Neil Diamond at the O2 on Tuesday! Yep, I woz there watching Neil resplendent in a glittery black shirt struck his funky stuff. Believe me, for a man old enough for a freedom pass, he sure can strut. He had it all going on, key changes, brass section and a moving stage. 15 thousand people singing ‘I Am I said’ and ‘Forever in Blue Jeans’ was heavenly.

Now before you all start running screaming for the hills, I haven’t posted a Neil track. Its my own little tribute to him. This version of ‘Sweet Caroline’ was recorded in the 70s by a group of school kids in Canada. Their teacher got them to chose various pop songs to sing (including ‘Band on the Run’ and ‘Space Oddity’). The St Winnifred’s school choir it ain’t. The recordings are raw and sometimes out of tune but that makes them even more gorgeous and often moving. So here is their version of a Neil Diamond classic. As the man himself would say, it’s a beautiful noise….

Buy here :: direct from the record company...

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Seven deadly synths (6)

Kevvy K — Mon, 23 Jun 2008 19:49:00 +0100

Harry Thumann – Underwater (Mischief Brew edit)

Both a deadly synth, and from a synth-pioneer.. according to Wiki-P, (and I have to quote as I’m nowhere near the synth nerd that Hal is), “Always quick to embrace new technology, Thumann recognised the potential of MIDI and used Commodore 64 computers with MIDI cards controlling a system that evolved into a huge MIDI-controlled synthesizer installation including a plethora of synths and modules, plus a Fairlight II and Moog 3C modular system. This led to a string of albums of Rondo Veneziano, which married both acoustic instruments and synthesizers. His album Andromeda is still a favorite among synthesizer buffs.” Which, in all honesty, doesn’t mean that much to me.

This wonderful, synth-fuelled, space disco opus is from 1979 and has been cropping up a lot on a recent DJ History poll on the best dance records of all time. I think many of you all will have the OG, so I’m posting this tweaked Mischief Brew edit from a couple of years back.

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Seven deadly synths (3)

Kevvy K — Sun, 01 Jun 2008 16:42:00 +0100

Chaz Jankel – 3,000,000 Synths (Sean P edit)

No numerically-synth-themed week would be complete without this! And it’s not here because the title fits so perfectly, its a bloody great electro-funk oddity from 1981, that got this edit on a 12” last year from the wonderful Tirk retrospective of the incredibly-gifted Blockhead that I hope everyone has a copy of by now. I’m also really loving his collaboration with Laura Weymouth on the recent and excellent Compass Point compilation that strut put out.

Some other just released and very excellent news… regular and faithful readers may remember a long, long time ago I posted Rico’s wonderful reworking of DC fave I Can’t Go For That by Hall & Oates? Well its finally been pressed, and very reasonably priced and available here on the Pointless Edits label. Pleading requests for re-uppage will fall upon deaf ears… go support the label – I’m sure Hall & Oates will have already done quite nicely for themselves off this particular track.

It also includes a great, funky, psyche-rock (Rare Earth?) edit by the Hardway Bros tht you can check out on their myspace page. As seen in discerning record boxes, right now.

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Tryouts for an 80s synth-pop sound

Hal Berstram — Fri, 30 May 2008 17:56:00 +0100

Sparks – The Number One Song In Heaven

Kevvy K’s “7 deadly synths” series got me thinking about some of the pioneers of synth pop – and in particular the ‘synth duo’ format (strictly speaking, usually keyboard guy plus singer) which became so common in the 80s with Soft Cell, Yazoo, Pet Shop Boys, etc. Normally these bands came about because the guy with all the synths (and it usually was a guy, for some reason) couldn’t sing and so had to get a mate to do the vocals for him.

Sometimes you’d see variants of the formula: for example two synth men plus singer (early Human League), synth man plus three mates who sing badly but can play one-finger basslines (first Depeche Mode album), synth man who also sings but has to put dancer on stage as he’s too dull (Howard Jones), footballers as synth duo (Glenn Hoddle and Chris Waddle). But I think the blueprint for the “synth duo” format has to be Sparks, in 1979, with the Giorgio Moroder – produced “Number 1 In Heaven” album.

Sparks first came to public attention as a five-piece who enjoyed hits with an operatic take on hard pop-rock: “This Town Ain’t Big Enough For the Both Of Us” and “Amateur Hour” both went top 10 in 1974 in the UK. Following a commercial slide through the mid to late 70s, the American core of the group, brothers Russ Mael (vocals) and Ron Mael (keyboards and Hitler moustache), discarded their British sidemen (including the superbly named Dinky Diamond on drums) and went it alone. Well, not quite alone, as they got Giorgio Moroder in to produce. The result was 3 hits in 1979: “Beat the Clock”, “Tryouts for the Human Race” (great title!) and this little number.

I’m not sure whether this is the full album version – my copy of the track is from a compilation album called “This Album’s Big Enough – The Best of Sparks”. I do have the 7” somewhere but couldn’t find it – story of my life.

Anyway this sounds like 2 attempts at the same track, with a faster, more insistent version kicking in at about 3:30. I like both of ‘em, anyway. Fairly obvious this is Moroder when you listen to it.

In total, Sparks have now released 21 albums of which at least 7 are classics. They are currently playing a run of 21 dates at the Academy in Islington where they are playing their entire back catalogue, album by album. I don’t think any band with this much recorded output has ever done that before. For one thing, the rehearsal time involved must have been crazy – even though the 80s albums are mostly electronic and so probably easier to play (just press ‘start’ on the sequencer I guess.) The run climaxes with the world live premiere of their new album “Exotic Creatures of the Deep” at Shepherds Bush Empire on 13th June. And if I can get my act together I’ll probably be there.

Good luck, guys!

Buy "Number One In Heaven" here :: sadly only available on import currently...
Carling Academy, Islington :: Book tickets for Sparks's run of 21 albums live

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Seven deadly synths (1)

Kevvy K — Fri, 30 May 2008 10:06:00 +0100

Robert Gørl – I Love Me

Listen up blog-slags, its synth week on Dilated Choonz. I love synths… spacey out there krautrock ones, sleazy new wavey ones, big poofy 80s pop ones… they all float my boat in a big way. I realized that its a sound I’ve been dipping into time and time again recently, and figured it might make for a nice thematic grouping on here. It’s not all quite clear in my head, and I’m hoping for contributions from my fellow bloggers, so consider the seven in the title as just a half-hearted pun rather than a quantative guarantee.

Firstly, a tune I have been loving so much of late, from Robert Gørl’s wonderful 1984 album Night Full of Tension. I love the arpeggiated synth sound, which together with the driving beat and the sleazey narcissim of the vocals (I can relate to the bits towards the end when he goes on about how much he loves his hair.. I often feel the same stepping out of my front door in the morning) makes for a very danceable and somewhat neglected classic of this sort of genre.

Gørl was of course, the less-hairy half of electro-punk pioneers Deutsch-Amerikanische Freundschaft, who might also be getting a look in over the course of this week. This album has Annie Lennox (who was apparently knobbing Robert at the time) doing great guest vocals on a number of the tracks.

Coincidentally enough, Another Night on Earth has just posted a wonderful guest mix in the Press Play series comprised of “early 80’s, synthy, left of center, New Wave made for dancing and thinking at the same time.” Well worth a punt.

Robert Gorl on discogs ::
buy it here ::

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Loveable Eurotrash

Kevvy K — Fri, 16 May 2008 12:51:00 +0100

Raffaella Carra – Rumore

A wonderfully trashy, mid-70s pop song from Italy, from La Carra, who out pop-strumpeted Madonna before she had even stepped on the scene. This woman got my attention after her appearance as the mystery-blonde in the Adriano Celantano video clip I posted a while back – apparently she went on to a really big career in Italy, Spain and some other parts of Europe. I love the pounding beat, the inane chorus, the funky-edged middle bit, and above all the resounding “na na na na”s. Not such a bad video neither.

Rafaella on discogs ::

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Interfering with the Fela

Kevvy K — Fri, 18 Apr 2008 17:17:00 +0100

Afrodisiac Sound System – Fela vs Kano

Following on from P Rice’s Fela posting earlier this week, and a thread on the newly revamped DJ History Forum discussing if we were all a bit over mash-ups, I thought that this was ripe for a posting. It’s one of the highly sought after series of afro-blends from Afrodisiac Soundsystem, taking elements of Fela Kuti’s ITT and mashing them up with Kano’s warped Italo future funk and b-boy favourite, I’m Ready. Works a treat n’ a half.

As an added Brucie bonus, remember a while back I posted a Youtube clip of a Detroit TV programme in which a number of people were taking their turns to strut their considerably funky stuff to Shari Vari? Here’s the same programme, with people cutting quite varied capers to I’m Ready.

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Hear The Children Sing

P Rice — Thu, 17 Apr 2008 20:35:00 +0100

Outside – The Plan (Kton Mix)

If I claim to know too much about this release I will quickly come unstuck. I know it was released in 1995 on London based Dorado records, and that a man called Matt Cooper is the force behind Outside. If anyone has any more information about Outside then I’d be pleased to hear it. I do know that junglist Cleveland Watkiss was a part of the Dorado set up.

Its a mellow groovy little number this one, which is all about the joyous vocals provided by a choir of children. This is my favourite of the three mixes which feature on the 12”, one of which doesn’t even feature the children singing. Imagine. This mix puts a smile on my face every time.

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RIP Klaus Dinger - an obituary for gonzoid rock'n'roll

Hal Berstram — Tue, 08 Apr 2008 22:48:00 +0100

A few days ago I received from Kevvy K the sad news that Klaus Dinger had died of heart failure aged 61.

Dinger was half of classic ‘Krautrock’ duo Neu! with Michael Rother. Neu! played a kind of trance-rock music, in some ways similar to Can but more minimal and focused (most of the time), and less prog. Dinger is described in Julian Cope’s Krautrocksampler as the greatest non-drummer ever and on the basis of ‘Neuschnee’ from their second album (wittily titled Neu! 2) it is hard to disagree. Whilst it is not accurate to say Dinger had only one drum fill (he had about four), he did have only one drum beat – a classic new-wavey 4/4 which is out in force here. Also, chord changes were almost an alien concept to this band – again, a massive influence on what came later.

‘Neuschnee’ was originally one side of a 7” single but was pressed into service – twice – on Neu! 2 when the band realised that they’d spent their entire recording budget and only had 20 minutes of material. To pad out to the required length, they used both sides of their single ‘Neuschnee’ and ‘Super’, then added ‘Super’ again at 78 rpm and at 16 rpm, and Neuschnee at 78 rpm. The lp was completed with ‘Cassetto’ which is one of the other album tracks played through what sounds like a malfunctioning cassette recorder – it keeps dropping out – and ‘Hallo Excentrico’ which is ‘Super’ being played on a reel-to-reel with one of the band changing the speed up and down periodically while simultaneously having a conversation with the engineer and recording some of that. It’s not how they told you to record an album when you watched “Rockschool” – and thank god for that. It’s Gonzo rock’n’roll.

Neu! managed one more album – the intelligently titled ‘Neu! 75’ before splitting up (in 1975, oddly enough.) Dinger went on to form La Dusseldorf who I’ve never heard but they’re meant to be very good. RIP, one of the true rock’n’rollers.

Buy Neu! 2 :: available from the Duff Zon(e) and all other system props

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For those of you who hate the Beatles....

Babe Rainbow — Sun, 02 Mar 2008 16:50:00 +0000

Nina Simone – Here Comes The Sun

Well here’s to my first posting! Even if you don’t like the Beatles, I thought you might appreciate this gorgeous cover by Nina. Also this constitutes my attempt to rescue the High Priestess of Soul from the humiliation of Muller Light adverts!!!!

Buy it here :: from Dufferzone...

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Poland's Finest

P Rice — Mon, 28 Jan 2008 21:04:00 +0000

Michal Urbaniak – Atma Tomorrow

To the best of my knowledge, we have never had any Polish Jazz Fusion on the DC website (in fact, I have just realised we don’t even have jazz in our list of categories). Clearly this state of affairs cannot stand and so I have taken urgent action to redress this sad situation.

This tune was released in 1974, shortly after Michal Urbaniak left his native Poland to settle in the US, and features on the album ‘Atma’. I love its deep spaceyness, and incredible climactic organ solo. I have to apologise for the slightly messy start to this MP3 but the tune fades in from another on the album, and this is the best that I could muster.

I first cam across this tune on the sublime Madlib ‘Live at Chocolate City’, which is a very laid back tour of some of the gems in Madlib’s record collection. You can still download it from the Stonesthrow website. In the words of Notorious B.I.G: ‘If you don’t know, now you know’.

Madlib live @ Chocolate City ::

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Mid-week Chillsville (1)

Kevvy K — Wed, 16 Jan 2008 23:56:00 +0000

Astrud Gilberto – Fly Me To The Moon

Slag of a week and there’s still a whole two more days of wage-slavery to come? Put your feet up and let DC soothe the brow of the weary workforce with a mid week selection concocted to defurrow the brow and rub valium-balm on your knotted shoulders.

First up, the dulcet tones of Astrud Gilberto, whose velvety loveliness outs me in mind of Andrex loo-roll, although I imagine she has been responsible for pulping a whole lot less rainforests. It sounds as if this jazz standard was written for her. If you check out Donna Slut in the near future if you want to check out another great track (and Cosmic classic) of hers.

Oh, and for everyone’s general amusement.. you can check out that film of Tom Cruise looking uber froot the loop thats been pulled off Youtube a number of times here.

buy it here ::

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The Madness of Markowski

Kevvy K — Sat, 12 Jan 2008 09:29:00 +0000

Vincent Markowski – The Madness Of Moths

An excellent, edgy, anxious but still very floor-friendly slice of distinctive electro-breakbeat, augmented with bongos and cowbells, that came out on the ever-excellent DC Recordings (no, nothing to do with us) at the end of 2006.

This, and the b-side also featured on a 14 track DC sampler Death Before Distemper which is on sale at Phonica at the moment.

The second weekend of the January detox, and the boozeless month of interminable pans of vegan slop and and fruit-laden porridge stretches insufferably out before me. These thing always play havok with my social life.

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Edits of the year (3)

Kevvy K — Mon, 31 Dec 2007 10:01:00 +0000

Les Edits du Golem – Pyramide

If the edits in 2007 at times were a bit too profilagate, with every Tom, Dick and Harriet slapping on a beefier beat to the Salsoul back catalogue, there were the occasional flashes of brilliance of those who had dug that bit deeper and those tracks were all the more rewarding as a result.

Ahmed Fakroun is a singer-songwriter from Benghazi, Libya. He is widely considered the foremost pioneer of modern Arabic World Music. I’m told that an album of his from 1977 provided the material for two of my favourite edits of the year, the one posted here, and also the Prince Language edit Yo Son on Editions Disco which very nearly made it into this top three.

Some French person turns this track into a slo-mo, chuggingly atmospheric, Balearic beauty. There’s a couple of other great tracks on the 12” (I was having a hard tiem choosing between this and Sumak, and the mysterious Golem has put out a couple of other records since then, so this in one to definitely pick up while you still can.

buy it here ::

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Enter, Selecta!

The Double K — Sat, 15 Dec 2007 10:02:00 +0000

Artful Dodger featuring Craig David – Re-Rewind

Christmas is coming and in a show of truly uninspired programming the BBC are bringing us yet another adaptation of Oliver Twist (pictured) – just what the world of family entertainment needed, I’m sure. And I’m sure the schedulers are sure to be doing a fair bit of Re-Rewinding as they put together a thrilling line-up of repeats and clip shows for our delectation too (Dixon of Dock Green Christmas Special, anyone? Followed by Animals in the 70’s Do The Funniest Things perhaps?).

Anyway, on to the tune… this was on an old speed garage tape I was playing the other day, I’ve been humming it ever since and so here it comes to you. Now I know Craig David is responsible for some pretty bad things (Seven Days, the fad for stupid beards, etc.) but I think in general he takes more flak than he really deserves – its not like he’s some kind of Nazi or anything. This début track with Artful Dodger is sublime – OK this may have more to do with Artful Dodger’s production than with David himself (I love the sounds of smashing glass screeching car wheels used as percussive elements), but there’s no denying the guy is smooth.

And any celebration of the Rewind is fine with me. Few things match the excitement of being in the middle of a crowd of sweaty ravers whistling, blowing horns and jumping round with fingers raised shouting Bo! because they love the tune so much and want to hear that drop again. And again. And again. I remember jungle nights back in the day when the big tunes of the moment would get rewound three or four times each time they were played, and might have been played by pretty much all of the DJs… it got a bit silly at points but like the man says when the crowd go wild, whatcha gonna do?!?

Buy it here from 69p! ::