An unusual offering from the minds of EBLAMC on podcast #9. It is not often we will repeat an artist on the same podcast, but this disc offers up multiple tracks by Moby, The Postal Service, and Squeeze. So if you love those bands this is Love Potion #9. If they aren’t your thing, there is lots of other cool stuff for you to enjoy. How about waking up after a wild night with the Supersuckers and having the “bruises to prove it”? Personal faves The Damnations TX provide a brawny workout at the “New Hope Cemetery.” Where are you girls anyway…I miss you…call me…XOXO. And if you’ve ever heard a bad cover of “Love Will Tear Us Apart”, you let us know and we will give you your money back. Hook in. (John I.)
Supersuckers – Bruises To Prove It
The Postal Service – Brand New Colony
Bossacucanova ft. Carlos Lyra – Influencia Do Jazz
The Beautiful South – You Can Call Me Leisure
Kaze Wo Atsumete – Happy End
Zuco 103 – Get Urself2gether
Moby – Sunday
Monika Mueller – The Short List (Singing and Driving)
Dan Tyminski / Soggy Bottom Boys – Man of Constant Sorrow
Squeeze – First Thing Wrong
R.L. Burnside – It’s Bad You Know
Squeeze – In Today’s Room
Moby – New Dawn Fades
The Damnations TX – New Hope Cemetery
Squeeze – It’s Over
Smashing Pumpkins – Isolation
Some Girls – The Getaway
Darude – Sand Storm
Swans – Love Will Tear Us Apart
Basement Jaxx – If I Ever Recover
The Postal Service – The District Sleeps Alone Tonight
I used to think the original British punks were terribly served by the movies. In the 1980s, it seemed like only three films depicting the scene were ever shown, and each was more depressing than the next. First, there was Don Letts’ The Punk Rock Movie (1978), a super-8 compilation of live performances at the Roxy that suffered from atrocious sound, complete lack of context, and some exploitative shock-horror audience footage. Then there was D.O.A.–A Rite of Passage (1980), which depicted the Sex Pistols’ disastrous final tour through the southern United States; it’s an absorbing if ugly document, a kind of punk Gimme Shelter that captures the last desperate moments when everything fell apart. Finally, there was Sid and Nancy (1986), a well-acted but willfully lurid biopic about British punk’s least inspiring figure. (John Lydon: “To me this movie is the lowest form of life.”)
Deaf School were Liverpool’s main claim to fame in the peculiar era between the end of Merseybeat and the post-punk renaissance led by The Teardrop Explodes and Echo and the Bunnymen. Not as serious as Roxy Music and not quite as smartass as Sparks, but exploring similarly theatrical art/glam/camp territory, they deserve a lot more credit than they ever received at the time.
The long-awaited LP by Tomten delivers on the promise of the preceding EP. 10 tracks of lush pop rock in the purest sense of the word. Don’t take our word for it, check out the tracks and read what the critics are saying:
“This young Seattle band’s album is an impressive set of well-crafted indie-pop steeped in the music of ‘60s girl groups and British bands, with a variety of impeccably arranged songs featuring reverb guitars, organ, gorgeous harmonies, and catchy pop melodies.” – KEXP
“Goddamn. …Tomten seem to favor creating an atmosphere of reverence; it’s like they’ve written hymns. Not sacred hymns, but hushed pop hymns, slightly flecked with lysergic glints of radiance. Well, at least it feels that way. … It’s obvious they’re in the know about ’60s playing; they’re economical and reserved, but are not clouded by the contemporary aural misconceptions of the psychedelic ’60s. Their knowingness is then mated to open, crisp, contemporary production, giving them a strong ’80s paisley pop sound. It just all FITS.” – The Stranger
“With a supremely catchy, well-paced set that already sounds like a greatest hits collection, Tomten has the songcraft worthy of their chosen tradition.” – Seattle Weekly
In the movie Bob Roberts (1992), writer/director/star Tim Robbins had some fun with the notion of a Republican senate candidate who doubles as a right-wing folk singer, and regales his followers with protest anthems like “Drugs Stink” and “Times Are Changin’ Back.” That the concept seems intrinsically absurd points to the perennial dearth of musical inspiration on the right. Few conservatives would bother to deny that, ideology aside, the lefties have all the best tunes.
And yet, amid all the progressive sentiment that dominated the pop charts in the 1960s, a few lonely voices cried out against the prevailing trends and released singles denouncing the perceived permissiveness and anti-Americanism of the young. Some of them were substantial hits.
What follows are five of the most notable counter-counterculture records of the ’60s, in ascending order of tackiness.
The opening words on this podcast really are ones to live by. The number 8 is the number of money in many Asian cultures and podcast 8 is total money. Highlights? Lots of ’em…classic deeeeep cut Elton John, Madonna’s brother-in-law Joe Henry is smooth as always, and the Polyphonic Spree sound like…well…a polyphonic spree. Stick around for the last four songs as they will, in turn, fire you up, make you happy, put you into a groovy mood, and take you on a journey of the mind. And you get the EBLAMC gold star if you can identify where track 13 comes from (without cheating and looking it up on your iPad). A hint…perhaps the best freeway-cruising-in-a-van-made-of-weed song EVER! (John I.)