Friday, April 28, 2006
Users of feed readers can subscribe to Kim's blog here.
Or just pop over to the site and poke around.
Wednesday, April 19, 2006
To Michael Lacey and Andy Van De Voorde of Village Voice Media:
We the undersigned, consisting of music publicists, music people and Village
Voice readers, hereby request the reinstatement of Chuck Eddy as music
editor of the Village Voice. The official reason given for his termination
was "reasons of taste." Seeing as Chuck did his job and did it with
efficiency, intelligence, character and humor, to say nothing of good taste,
we find the grounds for his dismissal unreasonable bordering on
incomprehensible and ask that he be restored to the position he has occupied
for the last seven years.
Village Voice senior editor and rock critic Robert Christgau said of Eddy,
"There have been many good music editors, but Chuck Eddy was the most
efficient, most professional I worked with. He was fabulous to work with. He
was the only editor who got his sections in not on time, but ahead of time.
He was so easy to work with. He was great."
Since Village Voice Media assumed control of the Voice in November, Chuck is
the 17th employee to leave the paper, either by resignation or termination.
It is clear that the Voice is being made to change in ways that are
rendering it indistinguishable from every other weekly in the country. Chuck
had been writing for the Voice since 1984, it was voices like his that made
it the paper what it was. Their loss is our loss.
Mark Gorney - Worldisc (www.worldisc.net)
Josh Mills - It's Alive Media (www.itsalivemedia.com)
Regina Joskow - Universal Music (www.umusic.com)
Thursday, April 13, 2006
The specifics of the zine section are yet to be determined, and it's not clear which stores beyond LA will be effected, but for now I just wanted to spread the good word. It's great to know that sometimes all it takes to get a timely idea adopted is finding the right way to ask. Thanks again to everyone who took the time to sign the petition or forward it, and stay tuned for Zines at Amoeba!
Thursday, April 06, 2006
McDonald's History Tour
Saturday, April 22
Join McHistorian Chris Nichols to discover the rich and hidden history of Richard and Maurice McDonald, founders of McDonald's. Travel in a luxury motor coach down Route 66 and into the Inland Empire where you will visit the sites and people that helped form the world's largest restaurant chain.
Tour stops will include a working orange grove, you'll tour a 19th century blacksmith shop where the first automation tools were invented, a visit to the museum on the site of the very first McDonald's. We'll also meet some of the folks who were there at the beginning. From a carhop to the neon man who installed the very first golden arches.
A non-McDonald's lunch will be served at the museum. Snacks and water will be provided. Our story starts when the brothers come to California and ends when Ray Kroc buys McDonald's.
McDonald's History Tour
Saturday, April 22
$50 all inclusive
Send payment to:
c/o Los Angeles magazine
5900 Wilshire Blvd., 10th Floor
Los Angeles, CA 90036
or paypal to : firstname.lastname@example.org
Questions? Call 213-804-4184
Wednesday, April 05, 2006
In tandem with my fellow editors of The Big Takeover, Dumb Angel Gazette, Roctober and Ugly Things, I've launched a petition campaign asking Amoeba Music to begin carrying zines in their California stores.
Since Amoeba came to Los Angeles, Rhino and Aron's Records have closed down, leaving us with very few places where independent music zines can be found. Since the management of Amoeba doesn't want to talk with us about carrying zines, we hope we can change their minds by showing them how many music fans would welcome the addition of zines to their stores.
So please, if you are a music fan and a reader of zines, take a moment to click below and tell Amoeba that you'd like to be able to find both in their stores. And spread the word!
On behalf of my fellow editors, the artists we review, our printers and folks who like to read in the bathtub, I thank you.
Tuesday, April 04, 2006
Come see us play! Raucous Phil Ochs tribute show!
We will be bashing our way [tenderly] through a brace of our favorite Phil
Ochs songs on the 30th anniversary of his death, April 9 (Sunday) at 8PM.
We've been to Phil Ochs tribute shows in the past. (OK, if you haven't, then
just play along.) They tend to be a bit morose. Even dire, sometimes.
Yes, the guy wrote some pretty depressing songs, fair enough. And people who
play these songs at tribute shows tend to dwell on the sad, hopeless aspects
of them -- compounded by the unavoidable fact that, after all, THE GUY KILLED
HIMSELF after his muse melted away.
But to us, Phil's music isn't about depression, it's about redemption.
Besides -- you know us, we don't do "morose." We're raising the bar. ;)
In fact, we're going to raise the entire bar (Magnetic Field, Brooklyn --
where else?) about ten feet in the air, on Sunday April 9, at 8PM, with a
somewhat cheery and rollicking set of Phil Ochs songs played as only we would
them -- and go ahead and read into that whatever you like.
So come, if you're a fan. Come if you're NOT a fan -- you will be by the time
we're done with you. And get there on time, dammit, you do not want to miss
the accordion solo. Or the red white and blue Buck Owens guitar, or the orange
Burns 12-string -- that's right, orange. If that's not worth your time then I
don't know what is.
Who? Peter Stuart -- bass, acoustic and electric guitars, echoplex, singing,
Ben Franklin glasses. Mike Fornatale -- acoustic, electric and 12-string
guitars, banjo, singing, accordion (maybe) and soulless yuppie accountant
Wendy Fornatale -- keyboards, acoustic and electric guitar, no singing, and
she'll probably be wearing contacts. Mike Sinocchi (of The Insomniacs) making
his first fill-in appearance with us -- drums, no singing, no glasses, and
really cool hair. And Mike O'Neill (whom I haven't even met yet -- hope he
rehearsal tomorrow) on occasional bass. I don't know if he wears glasses or
not, but I'll let you know soon.
97 Atlantic Avenue
Brooklyn, NY 11201
So we'll see you there, yes?
Tuesday, March 28, 2006
The Fleagles will be celebrating the release of their new CD "Goodbye to Mars" this Sunday 4/2 at Mr. T's Bowl with a free show. The Fleagles will be playing two sets, and in between DJ Don Waller, Agent 00Soul, will be spinning the platters.
Date: Sunday, April 2
Place: Mr. T's Bowl, 5621 1/2 Figueroa, Highland Park, CA, 323-692-3136
Directions: Take the 110 freeway northeast from I-5. Get off on Ave 52 exit, go left. Right on Figueroa. Park in parking lot behind Mr. T's and enter from the back.
Monday, March 27, 2006
Canned Hamm and the Bubblegum Queen performed live and hosted a night of many delights, including a puppet spectacular by the Bob Baker Marionettes, the L.A. premiere of a documentary based on the book "Bubblegum Music is the Naked Truth," Abram the Safety Ape's tribute to Lancelot Link, and musical performances from Ron Dante solo and in duets with his fellow Archie (and 2003 Gummy winner) Toni Wine and the Ohio Express' Joey Levine.
Then it was time for the Gummy Awards, with trophies presented to Steve Barri (Lancelot Link, Grass Roots), Ron Dante (Archies), Dr. Demento (radio hero) & Joey Levine (Ohio Express).
Now available: a 71 minute DVD spectacular featuring the highlights from this most pink and magical night, The 2005 Bubblegum achievement Awards Show. Copies are available for $22 postpaid in the USA and for $25 elsewhere. Please send payment in US dollars to Scram, PO Box 31227, LA, CA 90031, or paypal to scram @ scrammagazine . com.
Please note that the documentary is not included in the DVD package, and the puppet show has been heavily edited due to time constraints. Special orders for a second DVD containing the entire puppet show are possible. Email scram @ scrammagazine . com for more info.
A small town Ohio family record store, frozen in time since 1970, has finally been sold to the highest bidder. The contents will be on view and passed on to new homes at the Austin Record Convention over the weekend. Gaze upon the photos, drool, and dream.
Scram never got a Nikki interview, though we tried. He liked blondes too much to talk to brownette me and Maggot, but we did speak with his compadres David Kusworth and Marky in a little piece we call Drinkin' with the Jacobites.
Our sympathies go out to Nikki's family and friends.
Sunday, March 26, 2006
For full schedule, click below--
Ain't That a Shame: Loving Music in the Shadow of Doubt
The 2006 Pop Conference at Experience Music Project
Seattle, Washington, April 27 - April 30
Friday, March 24, 2006
Thursday, March 23, 2006
Dream Lake Ukulele Band is a Lost in the Grooves exclusive. Click to sample the music or purchase.
Dream Lake Ukulele Band
Dream Lake Ukulele Band
What do you get when you cross twenty-seven ukuleles, a Little Marcy record, and the Langley Schools Music Project? The result is a bizarre hybrid called the Dream Lake Ukulele Band, a Florida school group whose performances are documented on Crest Records, a New York vanity label. The back cover shows twenty-seven grade school aged students, all wearing white shirts and red vests, the boys also wearing neckties. Sound boring? Not when every kid is smiling and holding a ukulele.
The lead-off, “There’s So Many, Many Ways,” is one of the more charming Christian songs around, but I’m sure my opinion is altered by the sheer innocent joy of twenty-seven children’s voices singing in harmony while strumming their ukuleles. That spirit changes a bit though, when the songs veer off into the Bicentennial patriotic songs that fill the rest of Side 1. Such lyrics as "My Sunday school teacher loves me when I am never late" preceded by "God loves when I learn to shoot the gun" makes one wish that the band director would have been cool enough to be teaching the kids David Bowie songs.
Fortunately, Side 2 has the perfect antidote, for that is where the children present and sing their own original compositions. Compiled under headings such as "Wish Songs," "Name Songs," and "Music Songs," each features a progression of five to ten kids strumming and singing solo. These aren’t loud bratty kids singing "Tomorrow" at the top of their lungs, but more often small waif-like girls singing with very timid voices. My heart melts whenever I hear one girl who sings, "I am Mary, I like to play the ukulele" or another girl whose verse starts by saying her parents are always busy, and then proceeds with "Daddy is a band director, Mommy is a piano teacher, I love them." This record is listed as being Volume Seven, which definitely makes me wish that I also had volumes One through Six. (Vern Stolz, from the book Lost in the Grooves)
Are you a member of the Dream Lake Ukelele Band? If so, please contact us!
Wednesday, March 22, 2006
Monday, March 20, 2006
If the answer to all of these questions is yes, you might be a candidate to join the Lost in the Grooves syndicate. At our new site, lostinthegrooves.com, we are currently syndicating or hosting the writings of 15 pop fiends. Syndication means we automatically republish their blog postings, with all links and images intact, with a link in every post pointing back to their blog. Hosting means we provide the blogging engine and technical support for the writer's blog.
We already have a terrific slate of blogs--including Andrew Earles, Cult of the Week, Domenic Priore, duck stab, Ed Ward, Gary Pig Gold, Hayden Childs, Ken Rudman, Mark Prindle, Mike Appelstein, Tony Sclafani, Tosh Berman and LITG illustrator Tom Neely--and are eager to add more to the roster. So if you are an offbeat music blogger, or you know and love one, please drop a line to me, Kim Cooper, at email@example.com for more info.
Wednesday, March 15, 2006
the first attempt at a Lost in the Grooves music store, we've been
taken under the wing of the Maryatt Music Group, and are back online
and in business selling MP3s of individual tracks (99 cents) or full
albums (most are $11.95) for download or as physical CDs. The site is
I hope you'll stop by to hear samples of tracks by our exclusive
BRUTE FORCE (linguistic trickster and singer of the farest-ever Apple
45)... COSTES (Suckdog's early collaborator, utterly unique Francophone
noise guru) ... FUGU (French one man band orchestral pop majesty)...
THE LEOPARDS (mid-70s Kansas City Kinksy pop legends)... GIBSON BROS
(mid-80s punk-blues visionaries from Ohio)... LIPSTICK KILLERS
(Australian surf-garage heroes, with Radio Birdman connections and
perfect pop sensibilities)... THE ORGONE BOX (one man band from rural
England channeling the most exquisite aspects of 60s pop-psych)... SEX
CLARK 5 (brainy, ultra-catchy Beatlesque pop from Huntsville,
Alabama)... SUCKDOG (post-punk avant-garde opera from the incomparable
Lisa Carver)... JOHN TRUBEE (iconoclastic prankster and deconstructer
of jazz and rock convention). Coming soon, more from JOHN TRUBEE and
discs from THE CHAMBER STRINGS and ROSEHIPS.
LITG music is licensed directly from the artists, and they are paid for
every track sold. And due to our partnership with Maryatt Music Group,
you might even hear some of these tracks on soundtracks or in ads.
We welcome your comments and recommendations, on the LITG site or in
the community forum. We'll be adding new music, plus blogs from artists
and writers, regularly, so stay tuned.
Thanks for your interest in Lost in the Grooves, and for supporting
-Kim Cooper, Editrix, Lost in the Grooves & Scram Magazine
Monday, March 13, 2006
title: Whilst climbing thieves vie for attention
label: Court Records
personnel: Peter Price (drums, keyboards), A.C. Marias (electric bass guitar, voice), David Tidball (clarinet, voice), Bruce Gilbert electric guitar), Graham Leiws (electric guitar, voice, keyboards)
tracklisting: time and time, back to back, holy joe, earl, vanite, today's version, i will, mhona, blind time, crystal streams
further info: http://www.wireviews.com/
what with the re-release of their first three truly groundbreaking albums, it's time to, once again, celebrate the true post-punk genius of Wire. or at least one of the many solo projects featuring bassist Graham Lewis and guitarist Bruce Gilbert, recorded during the band's 1980-86 hiatus.
conceived initially as a live project (and partially improvised in places), "Climbing Thieves..." was hastily recorded before the band was forced to end. the deadpan vocals and drum machine of 'Time and Time' and thundering bass of 'Holy Joe' are reminiscent of a well-tempered Psychic TV. but although the music is decidedly avant garde in places ('Earl' has a creepy, ritualised feel), the slow-paced and semi-ambient album never loses it's sense of beauty, thanks in no small part to the haunting and strangely catchy 'Mhona'. the unmistakable highlight, however, remains 'Blind Tim', a heavily processed synth loop with oriental embellishments over which David Tidball offers a bizarre spoken monologue. once heard never forgotten.
given such P'o-tential, it remains a disappointment that the album's sound is rather muddy. however, we heartily recommend grabbing your wellies and wading towards it.
erik - http://www.cultwithnoname.com
Thursday, March 09, 2006
T O S H A R E Y O U R P A I N
Have a good story about a time you sent yourself to the
emergency room, set your hair on fire, or dropped a shot glass into
the garbage disposal... that sort of thing? Here's a chance to share
your story with the whole world wide web world!
A couple days ago, The Art of Bleeding began recording
stories for its GORY DETAILS AUDIO ARCHIVE. Just call the toll free
number, leave your story as a message, and within an hour or two, it
will be uploaded to our online archive so others can indulge in the
sweet schadenfreude of your most painful moments. More details at
CALL TODAY! SPREAD THE WORD!!
Listen here: http://artofbleeding.com/gorydetails.html
GORY DETAILS 24-hr HOTLINE: 888-467-8535
Monday, March 06, 2006
Phil Ochs I Ain’t Marching Anymore CD (Collectors Choice)… On his terrific second album, Ochs’ no longer comes across as an uptight young singer of issues, but as a loose and inventive composer using the folk/storytelling conventions to express a more personal vision--one that would reach its full flower after he left New York for the reinvention capital of Los Angeles. In the first two tracks, the title song and “In The Heat of the Summer,” he slips fluidly from the role of universal soldier to topical troubadour, explaining the summer’s riots through a sympathetic class analysis married to a lovely cyclical melody. His confidence, intelligence and the sweetness of his voice make him a fine tour guide to the psychic map of young, left wing America in 1965, and its interests in civil rights, the death penalty, division between the states and the rise of militarism. One flat point comes with “That Was The President,” a predictable and tedious dirge for Kennedy, but even that becomes interesting when placed beside the incredibly powerful song “The Crucifixion” that he’d write a few years later, once he’d processed his grief and disappointment and found metaphors to express how important JFK felt to Ochs and his peers.
title: See the Whirl
personnel: Alan (guitars, vocals, marimba), Ros (bass, vocals), Bethan (bass, vocals), Julz (guitar, vocals), Kelv (drums, percussion, marimba) and others
tracklisting: innocenti, final scene, circuit, open life, trail, shadow, delta 5, anticipation, journey, make up, triangle, waiting, telephone, different fur
further info: www.comnet.ca/~rina/delta5.html
with a CD compilation finally seeing the light of day this year, it's high time that we reassessed the work of Delta 5. very much part of the English post-punk 'funk' scene, Delta 5 are probably best remembered as a band with two (female) bassists. a band that, sadly, only managed to produce one full-length album before calling it quits in 1981.
syncopated rather than sinewy, and angular rather than angry, 'See the Whirl' is a measured, arty slice of post-punk that has much in common with The Raincoats as it does with Gang of Four. among the album's many attractive features are the highly distinctive, multi-tracked (unilateral) female vocals, which possess a beautifully deadpan, unhinged quality. similarly, the addition of a brass section, not to mention piano, expands the sound considerably and serves to take the band further away from funk to all sorts of places (big band, country, even latin). many will be disappointed by the lack of punch in the production - you would hardly notice that there are two bassists unless it was pointed out to you - but each short, speedy burst is as interesting as the next. highlights include 'Journey' (part of a second side that has slightly more in common with Gang of Four than the first), 'Innocenti', and more avant garde efforts such as 'Telephone' (with its syncopated chorus and cool guitar solo) and the cowboy romp of 'Trail'.
see the whirl. then purchase it immediately!
erik - http://www.cultwithnoname.com
Wednesday, March 01, 2006
Tuesday, February 28, 2006
"Terrastock and its audience are part of a necessary support system,
because in a music business centered on the search for the next big
thing, someone has to dig through record catalogues to discover the
next good thing, or search the archives to rediscover the last lost
thing." - New York Times
"A gathering of true believers, somehow combining the retro-obsessed
nerdiness of a Star Trek Convention with the most open-minded and
of the indie rock underground, all gathered together under the
genre-spanning umbrella of psychedelia."
- MOCA Los Angeles
TERRASTOCK is the official festival of internationally acclaimed
underground music mag, The Ptolemaic Terrascope (now Terrascope
Online), which has provided a voice to obscure, occult, mind-altering,
and deeply heavy aural explorations since 1989. Since its inception
in 1997, Terrastock has occurred five times, on both U.S. coasts and
in Europe. The festival gathers musicians and fans from all over the
world. The bill features a mix of big and small, wildly popular and
completely obscure, old, new, noisy, and quiet.
This year's line-up of over 30 bands brings performers from four
continents, including Japanese band Ghost (who will be making this
their last U.S. performance "at least until Bush is out of office"), re-emerged 60's
brit-folk icon Bridget St. John, Paik, P.G. Six, Charalambides,
Kemialliset Ystävät, Bardo Pond, Brothers of the Occult Sisterhood,
Kinski, Lightning Bolt, and the elusive grand-daddy of psych folk
himself: Tom Rapp of Pearls Before Swine.
So why are we telling you this? Because Terrastock is and has always
been a just-eeked-out D.I.Y. happening and we need you to help us
spread the word. This is a totally non-profit venture (the bands are not even paid!) but we
must cover enormous airfare, travel and hotel expenses for over 150
performers, not to mention venue, sound and equipment needs. All of this comes from ticket sales and we need your help to get the word out and sell some tickets. Tell
all your friends, or just come yourself!
We're also selling ads in our PROGRAM BOOK and we have tables
available for VENDORS. We are very interested in sponsorship too.
Please get in touch for more info!!
When: April 21-23
Where: Providence, RI, USA
For more information and ticket purchases:
Contact: Jeffrey Alexander :: firstname.lastname@example.org :: (401) 831-9327
Terrascope Online, Secret Eye Records and AS220 present:
April 21-22-23 in Providence, RI
Pell Chafee Performance Center and AS220
35 bands! 35 hours of music!
Tickets on sale NOW!
PHONE CHARGE: 401-831-9327
Avarus (Finland) **first-ever and EXCLUSIVE USA appearance!
Bardo Pond (PA) ** EXCLUSIVE appearance!
Black Forest/Black Sea (RI)
Brothers of the Occult Sisterhood (Australia) **first-ever USA appearance!
Cul de Sac (MA)
Damon and Naomi (MA)
Ghost (Japan) ** EXCLUSIVE USA performance! quite possibly their
Glenn Jones (MA)
The Green Pajamas (WA)
Kemialliset Ystävät (Finland) **first-ever and EXCLUSIVE USA appearance!
Kinski (WA) ** EXCLUSIVE appearance!
The Kitchen Cynics (Scotland)
Sharron Kraus (England)
Larkin Grimm (RI)
Lightning Bolt (RI)
The Magic Carpathians Project (Poland) ** EXCLUSIVE USA appearance!
Major Stars (MA)
Marissa Nadler (RI)
MV/EE Medicine Show (VT)
PG Six (NY)
Jack Rose (PA)
St Joan (England)
Bridget St. John (England) ** EXCLUSIVE USA appearance!
Spacious Mind (Sweden)
Spires that in the Sunset Rise (IL)
Thought Forms (England) **first-ever USA appearance!
Windy & Carl (MI)
plus TOM RAPP playing Pearls Before Swine songs with members of Ghost,
and Black Forest/Black Sea ** EXCLUSIVE appearance!
Kick-off show the previous night ("4/20", heh) with ACID MOTHERS
TEMPLE, ABUNAI! (reunion), BRIGHT, and JOE TURNER & THE SEVEN LEVELS,
and AREA C -- at AS220
personnel: Manuel Goettsching (guitar, electronics)
tracklisting: quiet nervousness, moderate start, and cetral game, promise, queen a pawn, glorious fight, h.r.h. retreats, (with a swing), ...and sovereignty, draw
further info: www.ashra.com
to produce an album that is heralded as being ahead of its time is one thing, but to have this happen to an album recorded three years prior to its first release, not to mention one that is essentially improvised (!), is quite something else.
when krautrock legends Ashra Temple's guitarist Manuel Goettsching sat down one evening in 1981 to improvise an hour long piece using nothing more than a guitar and synth sequence, he probably didn't bet on creating the world's first ever trance record. but arguably, 'E2-E4' remains just that. centered around a shuffling drum machine rhythm and a syncopated, melodic bass sequence - with a variety of 'ambiences' drifting in and out of the mix - the album is both totally hypnotic and, which is essentially what sets it apart, defiantly fresh and modern-sounding. indeed, I defy anyone to claim it sounds dated. a whole half-hour has actually gone by before any guitar comes in. even then, Goettsching's masterfully understated playing perfectly suits the backing, which remains fairly static for the album's second half. avoiding even the faintest hint of a 'rock' solo, Goettsching instead plays in a jazz style, with some reviewers even drawing comparisons to George Benson.
heavily sampled by Detroit techno pioneers, and part-inspiring the nineties' explosion in European trance, you heard it here first. classic, classic, classic.
erik - http://www.cultwithnoname.com
Monday, February 27, 2006
Four LA Things Meme
Four Jobs I've Had in My Life in LA:
Editrix, Scram Magazine
Exhibition Coordinator, MOCA
LP Shrinkwrapper, The Record Connection
Restaurant Critic, Citysearch
The Cool Ones
In A Lonely Place
Meshes of An Afternoon
Four Places I’ve Lived All Over L.A. (with food memories from each)
Beverlywood, and Mama Tina's hamentoshen
Venice, and the cookies with sprinkles free from the bakery ladies just for being cute
West Hollywood, Pioneer Chicken dinner when mom didn't feel like cooking
Lincoln Heights, pistachio-cinnamon ice cream on a hot day on Broadway
Four LA Themed TV Shows I Love to Watch:
Where The Action Is
The Dr. David Viscott Show, featuring Dr. D.V.'s ginormous head
Four Places I Would Vacation at in LA:
With the subterranean lizard people below Chinatown
Inside a revolving 76 Ball
Hotel Green (good enough for Duchamp, good enough for me.)
Four LA based Websites I Visit Daily:
LA Brain Terrain
Four of My Favorite Foods Found in LA:
Bean and rice burrito (no queso), Super Tortas, Hollywood
Chili en nogada, Babita Mexicuisine, San Gabriel
Glutinous rice balls in fermented rice mash, Giang Nan, San Gabriel
Four Places in LA I Would Rather Be Right Now:
Under the bell wheel, Museum of Jurassic Technology
Butterfly Pavillion, Natural History Museum
Mathematica, god damn it
Pandora's Box, 1966
This is an open invitation to artists who love the 76 Ball.
As you may know, Texas oil giant ConocoPhillips has purchased Union 76, and has been quietly pulling down the beautiful orange and blue 76 Balls and replacing them with ugly flat signs in red and blue. The ball's original designer, Ray Pedersen, is behind our petition and boycott campaign to Save The 76 Ball, as are nearly 1000 petition signers. Our campaign has received coverage on the BBC, LA Business Journal, Brandweek, OC Weekly and KIRO radio Seattle.
ConocoPhillips refuses to talk with the media about this issue, so you can bet they won't respond when we ask them to confirm or deny the rumors that the removed 76 Balls are being SMASHED INTO TINY PIECES. Since they are so secretive, I feel it's up to the artists of the world to show what's happening through the magic of pen, ink, Photoshop, etc. This is your chance to show what the powers that be don't want us to see--just like Goya, Gericault and Picasso!
If you'd care to contribute an image to the campaign, I would love to share it with the world on our website, along with a bio and link to your website. We got 51,000 hits over the past month, and I'm continuing to alert the media, so this could be a cool way to show your work off to gearheads and design fiends.
Please pass this on to anyone you think might be interested. Any help or suggestions you can offer would be greatly appreciated.
Editrix, Scram Magazine
and chief troublemaker, Save The 76 Ball
Saturday, February 25, 2006
Also: over on Franklin Avenue, Mike is sharing some vintage printed radio surveys for KFWB and KHJ.
Thursday, February 23, 2006
Here's my picks (and I am sure I'm forgetting someone I'll regret); if you vote, please list yours on the comments below:
1) Alex Chilton
2) Arthur Lee
3) Barry Mann/Cynthia Weil
4) Brian Wilson
5) Carole King/Gerry Coffin (sic!)
6) Colin Blunstone/Rod Argent (they forgot Chris White, but I ain't blowing a write-in on one Zombie!)
7) Ellie Greenwich/Jeff Barry
8) Jeff Mangum
9) Jimmy Webb
10) Joni Mitchell
11) Pete Townshed
12) Ray Davies
13) Roky Erickson
14) Steve Earle
15) Peter Perrett (Only Ones)
17) Scott Miller (Game Theory/Loud Family)
18) Brute Force
19) John Parker Compton (Appaloosa)
20) Deniz Tek (Radio Birdman)
Wednesday, February 22, 2006
Monday, February 20, 2006
title: Rock 'n' Roll Liquorice Flavour
label: Red Rhino Records
personnel: Marc Riley (vocals, guitar, drums), Eddie Fenn (drums, guitar, piano), Phil Roberts (bass, vocals), Mark Tilton (guitar), Simon Taylor (guitar), Mike Gallagher (saxes), Jon Langford (guitar), Dick Taylor (guitar), Eric (accordian)
tracklisting: liquorice flavour, sweet retreat, cheshire life, rosalyn, derbyshire, tearjerker, fillet face, 'cept for you, fan club, act your age, bastard hat, curl up and dye
further info: http://homepage.ntlworld.com/s.bending/creepers/index.html
guitarist Marc Riley had his very own music industry baptism of fire by managing to remain a member of The Fall for a whopping 4 years. his post-Fall outfit, The Creepers, gradually grew in confidence with each of their five albums before finally calling it a day on this, their final, but greatest effort.
comparisons with The Fall are inevitable, but - with the exception of 'Fan Club' - unfounded as The Creepers' sound(s) is far removed, if still resolutely 'Northern'. Riley & Co. explore a far wider palette of sights and sounds on 'Rock 'n' Roll Liqourice Flavour', all of which are very palatable. in between excellent, melodic punky (not punk) songs such as 'Cheshire Life' and 'Curl Up and Dye', you'll find the honky tonk drinking song piano of 'Sweet Retreat', eighties indie ('Tearjerker'), avant folk ('Bastard Hat'), something approaching goth ('Cept for You') and a neat cover of The Pretty Things' 'Rosalyn'. the cool metronomic drums, sinister riffs, distorted stylophone and bizarre spoken monologue of the album's standout 'Derbyshire' warrants a special mention. Riley's versatile voice adjusts perfectly to every setting on the album, with the band duly following suit. accordian is used to particularly great effect.
a fine album, with barely two tracks that are the same. liqourice allsorts indeed!
erik - http://www.cultwithnoname.com
Sunday, February 19, 2006
The Disembodied Theater Corporation brings you an evening of dispatches, news, songs, and fragments from the Ghost City: the skeletal remains of industry, railways, and graveyards that stand as remnants of a lost society. Filmmaker Ross Lipman joins this odd assortment of media artists, musicians, and performers in presenting a haunting assemblage of ruins, rants, and shards of memory that paint a collective portrait of dystopia.
Featuring new works by:
Jewlia Eisenberg (of Charming Hostess)
Rebekah Greely (of WACO)
Steve Gregoropoulos (of WACO, Lavender Diamond)
poet Jen Hofer
Nora Keyes (of the Centimeters)
filmmaker Ross Lipman
Heather Lockie (of Listing Ship, Eels)
soprano Claire McKeown
filmmaker Lee Anne Schmitt
pianist Anna Simpson
Laura Steenberge (of Listing Ship)
Joe Tepperman (of Ego Plum Ebola Music Orchestra)
THE DISEMBODIED THEATER CORPORATION
is a newly created performance group founded by filmmaker Ross Lipman to realize temporary manifestations of non-filmic cinemas
THE VELASLAVASAY PANORAMA
is an exhibition rotunda and garden dedicated to the production and exhibition of the 360 degree panoramic landscape painting, widely popular some 150 years ago and nearly forgotten today, along with the presentation of other 19th Century inspired entertainments.
Friday Feb. 24th & Saturday Feb. 25, 8:30 p.m.
The Velaslavasay Panorama
1122 West 24th Street, Los Angeles
NO WAY OUT BUT ONWARD
An adventure in psychogeography through New York's High Line
PowerPoint performance written and narrated by Ross Lipman
Suite for Bass, Viola, and Trombone by Laura Steenberge
with Heather Lockie and Joe Tepperman
Photos by Leigh Evans, Ross Lipman, Nina Mankin
The High Line is the abandoned freight rail that runs through the west side of Manhattan. Recently designated the future site of an undetermined public space, it for the moment remains a haunted paradise above the city--a verdant wasteland inhabited only by occasional taggers, wanderers, and police. In October 2004 a ragtag group of us ventured up to explore. As we were to learn, it's a space with its own internal logic, interacting with its visitors in a way unique to each.
Thursday, February 16, 2006
Wednesday, February 15, 2006
Tuesday, February 14, 2006
Monday, February 13, 2006
label: Plurex Records
personnel: KJ Boterbloem, W Dekker, F Van Manen, P Mulder, R Ootes, I Schalkx
tracklisting: werktitel 7, werktitel 5, werktitel 1, werktitel 8
jollyfied name to the contrary, Minny Pops were one Holland's premier synth/ wave gloom merchants. centered around the baritone of Wally van Middendorp, the Pops' Joy Division-esque sound was unmistakable, if occasionally an acquired taste. the sole EP from two-member side project Smalts, (almost) dropped the vocals altogether for a series of intriguing musical soundscapes.
rather than churn out a series of derivative, sub-par Eno experiments, 'Werktitels' contains some very interesting music indeed. drums and percussion are used to great effect throughout, with plaintive synths used to create semi-melodic drones that give the EP a fairly 'folky' feel that's most prevalent on 'Werktitel 5'. 'Werktitel 1', however, is undoubtedly the standout, perhaps because the remaining tracks are so criminally short. a seriously cool layered, live percussion loop fades in, synths soon following with a tongue-in-cheek melody that sounds like it's been lifted straight from a b-movie horror soundtrack. spacious production gives the EP an ethereal quality that keeps it in considerably lighter territory than one might imagine.
a neat series of pieces that remains as unclassifiable as it is interesting.
erik - http://www.cultwithnoname.com
Saturday, February 11, 2006
This was the first time I've taken this material on the road--albeit only ten miles from home--and I found that it was quite emotional to read these highly charged paragraphs out loud, and to connect with people who feel so passionately about the music. I felt energized at the time, exhausted next morning.
The bookstore annex was packed with a kind and attentive audience, including KXLU's Peter Choyce, Black Dahlia scholar Larry Harnisch, historic preservationist John Arroyo, This is Burning Man author Brian Doherty and Craig Ceravolo.
I read excerpts spanning the whole of the book, and finished by playing a recording of Jeff playing "Little Birds"--which I was surprised to discover almost no one in the room had heard before. I think everyone was pretty stunned by it. Then I took some questions and signed folks' books. The bookstore was happy, because 25 people bought 30 books. And I signed another couple dozen, in case you want to stop by Book Soup soon and get one for yourself.
My sweetheart Richard documented the evening with photographs and in this podcast, where members of the audience share their experiences with Aeroplane and what it continues to mean to them.
I hope we'll have another podcast to share from the Vroman's reading on March 25, but in the meantime, if anyone reading this would like to make their own MP3 podcast along this theme, please host it for free on ourmedia.org and email me (at amscray @ gmail . com) when it's live. I will put links to your podcasts up on the webpage dedicated to the book.
Thursday, February 09, 2006
Just heard that Allen 'Alpo' Paulino, founding member of the one of the
greatest rock'n'roll bands ever, the Real Kids (and an early member of
the mighty Cheater Slicks, co-leader of the Primitive Souls and an
on-again/off-again Nervous Eater), died today in Boston. Not sure of
what happened yet but Carl Biancucci of the Classic Ruins told me Alpo
went to bed with a cold and never woke up. Alpo was one of my heroes for
the past 25 years and releasing the Primitive Souls EP and meeting Alpo,
Billy Borgioli and John Felice in the mid-90s were two of the highlights
of my life. Alpo was a great guy - a smart-arse but charismatic and
charming as hell, and ly impossible not to like. I never saw the
original Real Kids play - never had the chance to see one of their
reunion shows even - and now I never will.
Anyway, let's hope Alpo's death does not go unnoticed by the rock world
at large (esp. Mojo, Uncut etc). If all he'd ever done was play bass on
that first Real Kids record he would've been one of the greats to be
sure... My favorite Alpo moment on record though is his b/vocals on the
live version of 'Bad To Worse' on the 'Grown Up Wrong' album - he sounds
like his hearts about to burst. That's about as thrilling as rock'n'roll
gets in my book.
Wednesday, February 08, 2006
Lost in Who's Grooves?, January 31, 2006
|Reviewer:||Craven Moorehead (Key West) - See all my reviews|
Monday, February 06, 2006
title: Bob the Birdman
label: PVK Records
personnel: Duffo (vocals), Rob Adams (drums), Sev Lewkowicz (keyboards, vocals), Dick Middleton (guitar), Tim Wheatley (bass guitar)
tracklisting: bob the birdman, slave of marakeesh, daddy is a mushroom, le posuer, walk on the wild side, elephant man, (i am) the fly, new york is the moon, crazee man
the post-punk era is of course littered with mysterious, unclassifiable individuals. so, what to make of someone who has made well in excess of a dozen albums, spent a period signed to Beggars Banquet, and yet remains a relative unknown - or least virtually forgotten?
'Bob the Birdman' was already Australian Jeff 'Duffo' Duff's fifth album. his fifth. musically, Duffo's album has a somewhat uncomfortable feel, largely due to the fact that it sits between genres. something like Bowie crossed with Andrew Lloyd-Webber, the album consistently leans towards musical theatre thanks to the use of strings and colourful, expansive production (synths are used to give the album a 'spacey' feel). usually it works, making songs like 'Bob the Birdman' and 'Le Posuer' genuinely affecting, and others such as 'Elephant Man' at least highly distinctive. however, some may find the album too Broadway to stomach. Duffo also dabbles in reggae ('Slave of Marakeesh') and disco on his utterly bizarre take on 'Walk on the Wild Side' - in equal parts hilarious and horrific. and before you ask, no, '(I am) The Fly' is not a cover of the The Wire classic, but a fine ballad in its own right.
generally more renowned for a series of publicity stunts and the occassional practical joke played on unsuspecting journalists, it's high time that Duffo's considerable body of work was reappraised.
erik - http://www.cultwithnoname.com
Sunday, February 05, 2006
Friday, February 03, 2006
The Everly Brothers It’s Everly Time CD (Collectors’ Choice)… This is a killer diller album, the first in a whole string Don and Phil recorded for Warner Brothers. They had a somewhat better track record on the independent label Cadence, but hit the ground running for the WB. And while their audience might have quit buying the records in the same gigantic quantities, the boys never slacked up any on their end. The songwriting team of Boudleaux and Felice Bryant were responsible for half the songs on this effort and their work stacks up well against past glories like “Wake Up Little Susie” and “Bye Bye Love.” All the material is strong, with Don’s “So Sad (to Watch Good Love Go Bad)” one of my faves on this set. (Edwin Letcher)
The Everly Brothers Roots CD (Collectors’ Choice)… This was the last studio album Don and Phil did with Warner Brothers. The boys and the label heads pulled out all the stops and put together a wonderful country-rock record. Unfortunately, there just weren’t very many folks clambering for such an animal, and this became yet another well-intentioned and executed project that went nowhere. The lads did a couple Merle Haggard songs, and covered Jimmie Rodgers, Glen Campbell, Ray Price and George Jones. Ron Elliott of the Beau Brummels was heading in the same neo-country direction and supplied a couple songs as well as some guitar and production work. There are some orchestral, almost psychedelic touches sprinkled throughout that add an otherworldly quality to the material and give it a nicely cohesive feel, even though the album mixed state-of-the-art ’68 rock with clips of the Everly Brothers’ act circa 1952. (Edwin Letcher)
Thursday, February 02, 2006
Inaugurating a label dedicated to spotlighting great Jewish contributions to avant-pop is this frisky, Latin-tinged set of Hebraic instros. While piano trills are more prominent than the titular hand drums, it’s a fun set of cocktail music sure to pique the interest of your inner Esther. Pick hit: “Havannah Negila.”
And on the reinventing the Who tip, check out "My Generation" as an ASCII movie, by artist Yoshi Sodeoka. (thanks, Richard!)
Wednesday, February 01, 2006
Lori Burton -- Break Out (Rev-Ola)
buy the album
Bridget St. John - Songs for the gentle man (Cherry Red)
buy the album
Haden, Petra - Sings: The Who Sell Out (Bar/None)
buy the album
Dino Valente - S/T (RPM)
buy the album
The Moon's a Harsh Mistress: Jimmy Webb in the Seventies (Rhino Handmade
buy the box set (out of print, expensive)
Archive/ Live At the Albert Hall 1972
Letters, released April 2006
El Mirage, released April 2006
& So, On, released April 2006
Words & Music, released April 2006
Land's End, released April 2006
Paul Williams - Someday Man (Collectors' Choice)
buy the album
One Kiss Can Lead to Another: Girl Group Sounds, Lost & Found (Rhino)
buy the box set
Foster, Josephine - Hazel Eyes, I Will Lead You (Locust)
buy the album
Barracudas - S/T (NDN)
buy the album
Appaloosa - S/T (Collectors' Choice)
buy the album
Tuesday, January 31, 2006
Monday, January 30, 2006
The Boys From Nowhere - The Young Lion 45s
The Highway to Hell is paved with bad imitations. Discarded tubes of lipstick and the sloughed-off leathers of Stooges-wannabes stand by to warn the hopefuls who stagger along the time-honored—and widely dishonored—passage. In the late eighties, the LIE and Mass Pike were crowded with bands who fancied themselves the new Stones, or Dolls (allegiance shifted around 1985 from Pebbles comps to MC5 reissues), but these outfits disappeared in the hair-apocalypse that was Guns N’ Roses. Which is a crooked way of approaching Boys From Nowhere, the greatest garage band you’ve never heard.
While Lyres and the Chesterfield Kings were trying to drag us back to sacred-mono, Mick Divvens was shaking his mane to Uriah Heep records. While Jeff Conolly was struggling to accept the world hadn’t ended in 1967, Mick was on about the merits of Ratt’s first 45. Yet brushing aside specious punk notions of purism, the fact remains that Divvens recorded some of the finest singles ever waxed by a guy named Mick. Vaulting over the usual obstacles— slack-jawed drummers with lucrative sidelines in armed-robbery, feckless sidemen too busy griping to show up for practice—Divvens did it the hard way, playing organ, guitar, duck-call and hair-on-fire screaming for a series of self-released singles that needed to be heard to be believed.
Combining the pant-pissing heaviness of the best Detroit thug-rock with prime sixties ‘tude, these were a far cry from the fey recidivism of bands I won’t name, unless I already have; “Beg,” “Jungle Boy,” and (especially) “I Don’t Bother” approach Stooges-like levels of intensity without sacrificing melodic interest, and—with that duck-call—nodding towards the retarded art-punk of fellow Ohioans Pere Ubu. These were subsequently reissued on a series of Spanish, German and Australian 12-inches that sounded as if they were mastered in a laughing-gas factory. Tinny, cruddy (the original pressings were both, in a good way) and sped-up, they led some to wonder what the fuss was about. An album on Skyclad followed. But the best are still those early singles, and it’s a crime against humanity Divvens still has boxes of ‘em in his garage. He ought to be sending children to college on their backs. Maybe then someone could come forward to show the Hives, White Stripes, etc. how it’s done. (Matthew Specktor)
Melodrama gets a bad rap, but there are few emotional experiences that are as pure, as enervating. American teens in 1963 didn’t have opera (light or otherwise), pulp horror magazines or the Grand Guignol, and they couldn’t have cared less about their mother’s soaps, but they did have the radio. And in two minute increments, the radio fed out miniature urban operas packed with enough misery, longing, pain and conflict to satisfy their every vicarious desire.
Revisionist pop memory sometimes obscures just how ubiquitous Girl Group music was in the early sixties—the Beatles were even star struck over Ronnie Spector--but since many of the groups were interchangeable puppets fronting for producers and songwriters, albums were a rarity, and women’s voices get short shrift on oldies radio, relatively few of the acts are remembered by non-collectors. But as One Kiss makes immediately and forcefully clear, there was much more to the GG sounds than the Ronettes, Shangs and Supremes.
And what One Kiss is mostly is thrilling, pushing track after marvelous track of unknown, impassioned, instant teen pop into ears that too rarely find such a concentrated bounty. I’m personally most pleased to see the Goodees, the exquisitely tasteless Southern-fried Shangri-La’s, find a wider audience with their “Leader of the Pack” cop “Condition Red”—especially when the record sounds so great—but there are dozens of acts that deserve spotlight treatment. Like the mysterious Bitter Sweets, turning in a clinically hysterical Shangs’ routine penned by Brute Force… or the very fine (and finally gaining notice) Reparata and the Delrons… the Lovelites, authors of the most agonized “somebody ple-eeease” ever laid on tape… Dawn’s relentless, paranoid “I’m Afraid They’re All Talking About Me”… Toni Basil’s washed up lament “I’m 28”… and teen guitar goddess Char Vinnedge, whose Luv’d Ones were riot grrrls in 1966. Then there’s “Peanut Duck,” an utterly mad, irresistible slice of Philly Soul recorded by a nameless singer, discovered on an unlabeled acetate, and subject of a growing cult.
The set’s greatest strength is its lack of orthodoxy, so rather than a tour of the Brill Building and Spectorland (Phil’s ouput is conspicuously absent), the Girl Group definition is expanded out in distant ripples, not just to Memphis’ Goodees but to England for Andrew Oldham discovery P.P. Arnold’s lovely early recording of “The First Cut is the Deepest,” into the rockabilly raunch of Wanda Jackson, from soul to surf to and all around the pop bubble.
This is a gorgeous box, a worthy tribute to the women who are on it. The package’s conceit is that it’s a black and white striped, velvet-lined hat box with a cord handle. Inside, each CD mimics a different vintage compact, complete with a mirror and photo-realistic pat of powder. Each CD is a powder puff. But that’s where the soft and floppy metaphor ends, because these dolls are tough and artful, and they come bearing great gifts to all who have ears to hear. Essential.
title: Ode: O, to be seen through your eyes!
label: Toeblock Records
personnel: Ted Milton (sax, vocals), Hermann Martin (synthesizers)
tracklisting: ode: o, to be seen through your eyes!, slies are bruised, the porcine colonel's left over women
Ted Milton, better known as the visionary, if inimitable, leader of Blurt, remains one of post-punk's forgotten heroes. Blurt's combination of squawking sax, angular guitars and funk-influenced drumming still draws immediate comparisons with James Chance, an unsatisfactory tag when you consider that Blurt swam in more original and avant-garde waters.
"Ode" is not only noteworthy because it saw Milton record under his own name, it also marked an interesting departure from Blurt, whose organic sound was temporarily replaced by Herman Martin's synths. the results are mixed. the title track comprises a Milton monologue over dated programmed drums, which detract slightly from the power of Milton's highly animated voice. 'Skies are Bruised' (great title) is much better. Martin's synth stabs and textures are suitably ominous and combine excellently with a superb sax riff that hints strongly at the Blurt classic 'Bullets for You'. undoubtedly the EP's standout. meanwhile, 'The porcine colonel's left-over women' buries Milton's rant and sax in the mix somewhat, giving the track a cool, meditative feel thanks to some sparse, repetitive synth programming.
not for the fainthearted, but who cares. let it blurt!
erik - http://www.cultwithnoname.com
Thursday, January 26, 2006
Buy direct from the label (where you can sample tracks) or from Amazon.
It was our pleasure to host the Times' intrepid Cindy Chang on our Dahlia Day Crime Bus tour to sites macabre and fascinating. Her story is a terrific snapshot of the mood of the tour and our aims in writing the blog and dragging folks around the city.
We were thrilled to discover we could sell out two full sized tour busses with only minimal publicity on this and other blogs, and in the L.A. Alternative, and are already planning future Crime Bus and Crime Walk outings to introduce more retro gore hounds to the forgotten weirdness of our city. So sign up for the mailing list* if you'd like to be informed when reservations open for the next tour, and check out this podcast, a sampling of the Dahlia Day route. But be warned: there's a lot of humor, but it is not for the squeamish.
yours in darkest noir (with a cherry on top),
*AOL's browser does not recognize the sign up page. Please use another browser to join.
And today, with David Barker's announcement of the next 21 books in the 33 1/3 series, two more Lost in the Grooves anthology contributors are slated to join the gang. Among them, my longtime editorial partner (and perhaps the most provocative pop thinker the series has yet to host) David Smay, with a book on Tom Waits' swordfishtrombones, and Hayden Childs diving into Richard and Linda Thompson's Shoot Out The Lights.
Congratulations to David and Hayden, and the other happy pitchers. And to the pop freaks who can look forward to books on Beefheart, Patti, Nick Drake, Television, the Minutemen, Throbbing Gristle and... well, visit the 33 1/3 blog for the full list.