【New Wave】ニューウェーブ Vol.8【Post-Punk】 [転載禁止]©2ch.net
One of the most important releases of 2021 to put it country simple and definitely one of the most spookily prescient, given what a 'R.N.A. Organism' now signifies in the genetically modified vaccinated world we all find ourselves in.
Japan's key post-punk/electronic multiplier, Kaoru Sato and assorted numerical friends created an entire 'alternative' version of their legendary 1980 album R.N.A.O Meets P.O.P.O.
Vanity Records allegedly rejected this version as too experimental and went with the album version we all know, love and obliquely skank to. In the meantime, a cassette with the 'alternative' version languished unplayed for forty years until it was 'rediscovered' as part of the project to reissue the entire Vanity Records catalogue that took shape over the last couple of years with a number of box sets and stand alone releases.
As for the music - it's comparable to first hearing the 70s music of Bernard Fevre/Black Devil Disco Club, selected Conrad Schnitzler from the same period or even Charanjit Singh's Ten Ragas To A Disco Beat from 1983.
There is a cognitive dissonance and you just can't bring yourself to fully believe this music was made when it was made (in this case circa 1979/1980).
What doesn't the help matters is the 'unlikely' backstory of 'single C-90 languishes in attic for decades until its rediscovery in 2020'.
Yet stranger things do happen and personally the entire story does seem real and not one of those tedious fake believe artefacts like the 2013 'Secret Cosmic Music Of The East German Olympic Program 1972-83' complete with spurious backstory.
Obviously without speaking Japanese, it's just the text on the vinyl and CD I have to go on (along with the music obviously) and I'll wait for those more knowledgeable in regards its authenticity, but my gut tells me this is the real deal and I would urge everyone to get the double vinyl and CD as it's a limited press (I don't have a deck at the moment but I still jumped on the vinyl) because as the word spreads, this is going to be one of the most important artefacts to emerge out of the visionary milieu of Vanity Records and as every bit as important as the Sympathy Nervous album and the second Tolerance album from that label.
Note: aside from the double album and CD, a 2020 'skeleton' version of Unaffected Mixes exists as a single vinyl album, part of the Vanity 2 Box Set by the German reissue machine that is Vinyl-on-demand. >>516
知ったか乙
XTCはGO2までならまだしも、BLACKSEAなんていう完全にギターポップ。
そもそも一つ前のdrums&wiresもキーボード脱退とデイヴグレゴリー加入でシンセ音など皆無だろ。 ごく初期はP-MODELと比較されることもあったらしい 李世福- Lee Su Fu, was born in1951, Yokohama China Town, Japan, as Overseas Chinese(華僑) 2nd Generation.
His Rock Musician Career has been started from playing Live Music at the US military Camps in Japan when he was teenager.
After Graduation from High School, he visited to USA, and had a great experience of watching real live music of Jimi Hendrix and Albert King. His Stay in USA made him inspired a lot to his music. After his return to the Home, Lee has formed “Lee Su Fu Group” as the Band. Through Changing Band Members, this Group has been later inherited to “Lee Su Fu Connection”.
In 1988, Lee has met Late Matsuda Yusaku (松田優作 Famous Actor in Japan, -1989) .And Lee composed Song of “灰色の街ーGray City” which became major hit song, with Lyrics written by Mr. Matsuda Yusaku.
Even now, Lee is playing mainly in Yokohama with taste of his Original Genre called “Chinese Rock” basis of Blues feel. In 70’s Lee was famous appearances in Yokohama Bandstand. And in 80’s- Early 2000s, Lee was regular Rock player on New Year Rock Festival” organized by Mr. Uchida Yuya, (内田裕也 famous Japanese Rock Musician). In 2012, Lee formed new band called “Lee Su Fu & ToshiMayGoo”, and expanding his Live music activities around Yokohama & Machida cities. As the band of “Lee Su Fu Connection”, they celebrated its 40th anniversary in 2015 by performing a LIVE at “Yokohama 7th Avenue”. 京アニ被告人質問詳報 （１３）「さっさと死ねというのか」被害者質問に感情的反応 京アニへの恨み、なお濃く
被害者姉「（被告が恋愛感情を寄せていた）女性監督以外の他の社員はライトノベルで言う『モブ』（群衆）に近かったということか」
被告「モブという認識ではないが、そういう感じと言わざるを得ない」
被害者父「あなたは２ちゃんねるを使いこなしているが、２ちゃんねるになりすましが多いことはご存じか」
被告「昔やっていました」
被害者父「（掲示板のやり取りで）女性監督（本人が書き込んでいる）と確信したと言っていたが、ひっかけられている（なりすまし）と思ったことは」
被告「２ちゃんの用語で『あおる』、つまり『あなた本人ですよね』という書き込みをすると（本人の場合）恥ずかしさから流す態度を取る。（あおりに対してそのような態度だったので）女性監督で間違いない」
https://news.livedoor.com/article/detail/25025820/ Vigilante Man
Have you seen that vigilante man?
Have you seen that vigilante man?
Have you seen that vigilante man?
I been hearin' his name all over the land.
Well, what is a vigilante man?
Tell me, what is a vigilante man?
Has he got a gun and a club in his hand?
Is that is a vigilante man?
Rainy night down in the engine house,
Sleepin' just as still as a mouse,
Man come along an' he chased us out in the rain.
Was that a vigilante man?
Stormy days we passed the time away,
Sleepin' in some good warm place.
Man come along an' we give him a little race.
Was that a vigilante man?
Preacher Casey was just a workin' man,
And he said, "Unite all you working men."
Killed him in the river some strange man.
Was that a vigilante man?
Oh, why does a vigilante man,
Why does a vigilante man
Carry that sawed-off shot-gun in his hand?
Would he shoot his brother and sister down?
I rambled 'round from town to town,
I rambled 'round from town to town,
And they herded us around like a wild herd of cattle.
Was that the vigilante men?
Have you seen that vigilante man?
Have you seen that vigilante man?
I've heard his name all over this land. 36人が死亡し、32人が重軽傷を負った2019年7月の京都アニメーション放火殺人事件で、殺人罪などに問われた青葉真司被告（45）の裁判員裁判第9回公判が25日、京都地裁（増田啓祐裁判長）で開かれた。被告は、自作の小説のデータをパソコンからスマートフォンに移した際に京アニにアイデアを盗まれたと主張した。「そこから抜くのは不可能でない」と述べた。弁護側の質問に答えた。
これまでの公判で被告は、放火について「京アニ全体を狙おうとした」と説明。「私はどんな刑でも罰を受けなければいけない」と述べる一方、自作の小説が京アニに盗用されたことが事件につながったとの主張を繰り返している。
京アニは盗用を否定している。検察側は小説コンクールに落選したことで筋違いの恨みを募らせ復讐を決意したと指摘。弁護側は事件当時、精神障害の影響で心神喪失や耗弱の状態だったとして無罪や刑の減軽を求めている。
https://nordot.app/1078865931062706259 "Ursula Le Guin’s short story, “Solitude,” describes a society rooted in the absolute autonomy of the
individual. In the world she constructs, people do almost everything alone, and they learn to savor this
condition through close, deep observation of all the minutiae surrounding them in the woods, the dirt,
the sky. A favored pastime is for a person to spend the night alone on a hill top, watching the patterns
of stars wheeling overhead without letting their attention wander; another is to pursue long solo journeys
into new landscapes whose unfamiliarity intensifies the pleasure of solitary contemplation.
Nicholas Krgovich’s new album, Ducks, similarly explores the rich experience of solitude, and the many
quiet revelations that are available in even the most mundane moments. Each of the album’s eleven songs
presents a closely-observed vignette of simply being alive and sentient in such moments: Krgovich describes
himself mailing a letter, waking up on a hot day, combing the beach for shells, mowing the lawn, and noticing
his own thoughts and feelings about these activities along the way. The album’s vibe of radical presence
is emphasized both lyrically and in its production. Each song has a kind of meditative quality, a pulse that
guides the ear down a straight path, moving while somehow also staying rooted in place. Airy guitar noodling
drifts above simple percussion, often consisting of just a couple of sounds. An egg shaker comes in and out
with great precision. The surprising chord progressions that characterize much of Krgovich’s previous music
are here as well, and this combination—unexpected harmonic changes on top of the other elements’ regularity—feels
like a wordless evocation of the lyrics’ theme: that there are revelations to be found even within the regular
and daily. We can always be surprised by ourselves and/in the world.
I hear Ducks as an extremely middle-aged album, which I mean as a compliment. Track 1, “Front Stoop 2,”
opens with a proclamation of loneliness—“For years and years I guess I was lonely, but refused to call it
so”—tempered with the pleasing realization that acknowledging this fact might be a sign of maturity: “I could
say a thousand other things but why/to answer a plain question with a plain reply/feels new to me and good.”
The exhausting melodrama of youth is gone now, as is the younger person’s sometimes charming, sometimes
obnoxious lack of self awareness. Krgovich has attained a certain age, and is now comfortable with himself
and with the things he knows and feels. He is even comfortable with discomfort, as we hear on the final song,
“Eating Last Year’s Apples in July,” where he repetitively intones “there was love in this house for a
time/you brought it in.” This simple acknowledgment of the inevitable passage of time—and the losses it often
wreaks—is certainly melancholy, and yet it doesn’t swamp him as it might have done in earlier, angstier times.
Krgovich’s vocal delivery throughout the album emphasizes this middle-aged quality. His uninflected voice never
rages or wails, never gets louder or softer, except when it falls down too deep for his vocal range to follow,
and trails off in a raspy whisper, like no big deal. It’s hard not to hear Ducks through the frame of loneliness suggested by its first and last songs, and yet
elsewhere the narrator is enmeshed in a thrumming web of sociality within which he seems content. This too
feels like a manifestation of middle-aged wisdom. Sometimes a thoughtful life calls for quiet reflections on
loneliness, but other times it demands recognition of the pleasures of togetherness. This latter mode is
probably most evident on the titular song “Ducks,” which teems with life. Opening via a quiet old-school
Casio beat, the song soon blossoms, as thick-strummed acoustic guitar and sustained synth chords fill the space.
Here we are shown a glimpse of “A fine day in the sun/for everyone,” replete with dogs playing and ducks
swimming. Of the titular ducks, he sings “What they know seems real.” This evocation of the “realness”
of everything, the inclusion of ducks and dogs in the word “everyone,” feels wholesome and radical.
The way such non-human animals run and play through so many of these songs is also part of what gives Ducks
its strongly seasonal, earthy aspect. The cold freshness of “Spring Rain” gives way to the fine summer day
of “Ducks” and the hot sun and sweat of “Return.” A few songs later it’s Halloween, and the house is
“lit like a pumpkin.” Meanwhile in “Scorpio Rising” it’s the narrator’s birthday, and he eats “the
last of the sweet summer plums,” as single keyboard notes softly echo his voice like the first freak snowflakes
of autumn. As with Le Guin’s short story, one comes away from Ducks with a strong impression of the depth
and beauty of even the simplest aspects of terrestrial life—its seasons, its tastes, its blades of grass—as well
as the pleasures of a closely-observed solitude and the cosmic loneliness that is so often such solitude’s
companion." Beautifully made double vinyl LP of this unique and important release featuring the earliest electronic
music ever made in India.
The black and white sleeve and inners feature archive photos of the composers at the NID and comes within
a poly outer printed on both sides.
The first 3 sides contain the music, the 4th features an etching created by Shreya Aurora, a recent graduate from
the National Institute of Design where these recordings were created 60 years ago.
The NID Tapes’ presents a collection of early Indian electronic music uncovered at the archives of the National
Institute of Design in Ahmedabad. Recorded between 1969-1972 the compilation chronicles electronic works from the
previously unknown Indian composers Gita Sarabhai, I.S. Mathur, Atul Desai, S.C. Sharma and Jinraj Joshipura who
worked at the nation’s first electronic music studio founded at the NID during the utopian years following India’s
independence - a radical period of visionary experimentation and artistic free-thought.
The studio was founded with support from the New York composer David Tudor who personally set up a Moog modular
system and tape machine in the autumn of 1969, and The NID Tapes also includes an excerpt from Tudor’s work discovered
amongst the collection of tapes. The release developed from a long-term research project by the British artist and
electronic musician Paul Purgas who travelled to Ahmedabad over many years to explore the origins of electronic music
in India. This resulted in the discovery of the electronic music archive at the NID and its eventual restoration and
digitising, which featured in the acclaimed BBC radio documentary Electronic India.
The compilation presents excerpts from the 27 reels of archive tape spanning the three years of the studio's operational
history, showcasing work from the pioneering electronic composers which included the musician and poet Atul Desai,
NID teachers and technicians I.S. Mathur and S.C. Sharma, Gita Sarabhai who had previously studied with John Cage
in New York in the 1940's and the young architecture student Jinraj Joshipura who was just 19 years old at the time
of first composing with the Moog synthesiser. The audio showcases their various visions for electronic music production,
exploring analogue synthesis, tape collages, voice experiments and field recordings revealing a meeting point of
Western and Indian avant-garde traditions, and offering a unique insight into South Asia’s post-colonial sonic imaginary.
The vinyl and digital is a collaborative release by Strange Attractor Press and State51 and has been mastered by
Hari Shankar Kishore (HVAD) with design for the release and a vinyl etching created by Shreya Aurora a recent graduate
from the National Institute of Design.
Launching at the same time through Strange Attractor Press will also be a book titled ‘Subcontinental Synthesis:
Electronic Music at the National Institute of Design, India 1969–1972’. Edited by Paul Purgas this collection of
critical essays will reflect on the larger cultural and political dialogues surrounding the studio and will feature
an audio CD of The NID Tapes as well as written contributions by Geeta Dayal, You Nakai, Rahila Haque and Jinraj
Joshipura - the last surviving composer from the NID. GIN GILETTE - TRAIN TO SATANVILLE (MUSIKON)
PEANUTS WILSON - CAST IRON ARM (MCA, 1957)
BOBBY MITCHELL - I’M GONNA BE A WHEEL SOMEDAY (IMPERIAL)
DWIGHT PULLEN - SUNGLASSES AFTER DARK (CARLTON)
JOHNNY CARROLL - HOT ROCK (DECCA)
NORMAN WITCHER - WAKE ME UP (POOR BOY RECORDS)
THE JIANTS - TORNADO (NORTHWOOD)
THE POLECATS - ROCKABILLY GUY (NERVOUS RECORDS)
THE METEORSMETEOR MADNESS (ACE, 1981)
V/A - MAN’S RUIN (POMPADOUR)
V/A - GREASY ROCK - N’ ROLL VOL.4 (OIL SLICK)
CARL PERKINS - THE ORIGINAL CARL PERKINS (CHARLY RECORDS)
JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO - JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO (MCA, 1957)
CHARLIE FEATHERS - GET WITH IT (REVERENT, 1998)
V/A - ROCKABILLY RHYTHM VOL. 2 (SUN RECORDS)
V/A - ESSENTIAL SUN ROCKABILLIES (CHARLY, 1996)
V/A - THIS IS ROCKABILLY CLASH (RAUCOUS RECORDS, 2003)
REVEREND HORTON HEAT - REVIVAL (YEP ROC, 2004)
THE CRAMPS - GRAVEST HITS (ILLEGAL RECORDS, 1977)
V/A - THE ROOTS OF ROCKABILLY 1940-1953 (INDIGO, 2004) >>532
会場に向かう道中でハヤシ事故ったら絶対に面白いよね
事故れ事故れ！w GIN GILETTE - TRAIN TO SATANVILLE (MUSIKON)
PEANUTS WILSON - CAST IRON ARM (MCA, 1957)
BOBBY MITCHELL - I’M GONNA BE A WHEEL SOMEDAY (IMPERIAL)
DWIGHT PULLEN - SUNGLASSES AFTER DARK (CARLTON)
JOHNNY CARROLL - HOT ROCK (DECCA)
NORMAN WITCHER - WAKE ME UP (POOR BOY RECORDS)
THE JIANTS - TORNADO (NORTHWOOD)
THE POLECATS - ROCKABILLY GUY (NERVOUS RECORDS)
THE METEORSMETEOR MADNESS (ACE, 1981)
V/A - MAN’S RUIN (POMPADOUR)
V/A - GREASY ROCK - N’ ROLL VOL.4 (OIL SLICK)
CARL PERKINS - THE ORIGINAL CARL PERKINS (CHARLY RECORDS)
JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO - JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO (MCA, 1957)
CHARLIE FEATHERS - GET WITH IT (REVERENT, 1998)
V/A - ROCKABILLY RHYTHM VOL. 2 (SUN RECORDS)
V/A - ESSENTIAL SUN ROCKABILLIES (CHARLY, 1996)
V/A - THIS IS ROCKABILLY CLASH (RAUCOUS RECORDS, 2003)
REVEREND HORTON HEAT - REVIVAL (YEP ROC, 2004)
THE CRAMPS - GRAVEST HITS (ILLEGAL RECORDS, 1977)
V/A - THE ROOTS OF ROCKABILLY 1940-1953 (INDIGO, 2004) Erano già tornati in pista nel 2019, con il primo album dopo i primi
tre grandi dischi degli anni ottanta, quelli che hanno già detto tutto
di quest'ottima band di Los Angeles, protagonista di quel "Paisley Underground" che
in quegli anni là anticipò, in qualche modo, l'alt.country degli anni novanta
e l'"americana" di oggi. Dei pionieri, di un rock, che rimaneva sostanziale, ma
profondamente influenzato dai sixties dei Byrds, band più seminale di quello che
possa sembrare. Ci hanno preso gusto e dopo la pausa pandemia, sono rientrati
in studio, nel 2022, per portarci quel suono ancora oggi, nel 2023. "September November"
è una raccolta di dodici canzoni, che vogliono essere testimoni del tempo che passa,
con il titolo che fa proprio riferimento a una specie di autunno esistenziale, oltre al fatto,
fondamentale, che hanno perso, nel 2021, il bassista Tom Stevens, a cui il disco è,
in qualche modo dedicato. Per il resto, Griffin, McCarthy e Sowders, sono tutti in prima linea,
aiutati da amici musicisti, come il bassista degli Old 97's, Murry Hammond. E il disco?
Se consideriamo il tempo che è passato, l'album è buono e ha ancora un discreto tiro,
specialmente nei pezzi elettrici, anche se si siede troppo in quelli più acustici,
rendendolo molto più riflessivo rispetto ai dischi precedenti: un suono più "americana"
che psichedelico, un po' più qualunque, a dir la verità, ma regge comunque discretamente
i quasi tre quarti d'ora di durata. La prima parte, soprattutto, con la canzone che titola
l'album, "Seasons Change", "Flying Down" e la migliore del lotto."Elmer Gantry's Is
Alive And Well", è ottima, per poi calare mano a mano che il suono si fa più acustico,
con alcuni pezzi piuttosto anonimi. Un album che non aggiunge nulla ai The Long Ryders,
ma che si ascolta comunque con piacere. Prendere o lasciare. Sid Griffin avait exploité l'intégralité de ses archives: il n'en était rien,
comme on le découvre en scrutant le menu de ces deux coffrets. Chaque box se décline
en trois volets: > l'album initial remasterisé et augmenté des faces B des singles
parus à la même époque, > les maquettes réalisées dans divers studios avant les
enregistrements définitifs, > un concert intégral issu de la tournée de promotion
contemporaine de l'album.
Le premier coffret est consacré à l'album State Of Our Union paru en 1985, qui marque
l'apogée du groupe, notamment en Europe. Après le succès d'estime de leur premier LP Native Sons,
les chancres d'un country-punk-rock tonifiant, ancêtres du futur courant Americana, cartonnent
en Angleterre avec le single "Looking For Lewis And Clark" et font les couvertures de tous
les magazines musicaux influents du Royaume Uni. Multi-instrumentistes et chanteurs/compositeurs
inspirés, Sid Griffin, Stephen McCarthy et Tom Stevens se partagent les plages du disque en y
injectant des colorations nuancées, soutenues par le drumming efficace du quatrième compère
Greg Sowders. Les douze demos de 1985, captées dans deux petits studios à L.A. et Burbank,
surprennent par leur degré d'élaboration et certains titres n'ont rien à envier aux versions
officielles. Le concert du 8 décembre au Mean Fiddler de Londres pioche dans le répertoire
du groupe, agrémenté d'un classique de Bob Dylan, "Highway 61 Revisited" et du medley
"10-5-60/London Calling".
Le second coffret revisite l'album Two Fisted Tales paru en 1987, qui marque malheureusement
le déclin des Long Ryders, pas pour des raisons artistiques mais à cause d'un conflit du groupe
avec son label Island, aboutissant à la dissolution du quatuor! Maintes fois retardé et malgré
un single prometteur, "I Want You Bad", l'album est détesté par la nouvelle équipe de promotion
du label qui le laisse sombrer. Il est pourtant d'une qualité égale au précédent et contient
le délicat "Harriet Tubman's Gonna Carry Me Home" et plusieurs chansons d'inspiration
Tom Petty & The Heartbreakers! Aucun inédit dans le disque consacré aux demos, mais pas moins de
vingt plages gravées de février à septembre 1986 dans trois studios en Californie, et certaines
prises très abouties supplantent les versions définitives. Le premier concert de 1987 voit le
groupe jouer en plein air à l'Oasis Water Park de Palm Springs et roder ses nouveaux titres, neuf
extraits du nouvel album sur une liste de treize morceaux ce jour-là. D'autres tournées vont suivre, et un retour en Angleterre pour quelques dates au mois de juin ne
génère malheureusement guère d'enthousiasme. Alors que les Long Ryders rêvent de marcher sur les
traces de R.E.M., c'est une débâcle financière qui les frappe, et en aout leur bassiste Tom Stevens
jette l'éponge, suivi quelques mois plus tard par Stephen McCarthy. Curieusement, la maison de disques
réclame un autre album, mais les rescapés Sid Griffin et Greg Sowders hésitent: ils renoncent finalement,
et fin décembre 1987, le groupe est officiellement dissous. Les deux hommes fondent The Coal Porters,
mais au bout de quelques semaines, Sowders quitte le projet pour un poste plus lucratif aux éditions
Warner Chapell, laissant Sid Griffin créer son propre label Prima et le courant At.bluegrass, publiant
six albums avec sa nouvelle formation au cours des vingt années suivantes, ainsi que trois albums en solo.
Tom Stevens enregistre pour sa part quatre albums intéressants mais mal distribués entre 1995 et 2009.
Stephen McCarthy est le moins prolixe de la bande: en dehors de trois contributions ponctuelles à des
compilations, il rejoint Gutterball le temps de deux albums en 1993 et 1995, puis fait un (trop) bref
passage au sein des Jayhawks en 2003 sur l'album Rainy Day Music. >>540
汚痔ちゃんが日々続けなけりゃ済まないそれは、きっとこの世のすべてへの復讐なのね・・・ Inspired by the Harper Lee novel, "Mockingbird" is the fifth album by
John Zorn's Gnostic Trio. The Frisell-Wollesen-Emanuel group plays enchanted
music that is always meditational and peaceful. As with the last few releases,
Bill Frisell is the standout. Indeed, on "Mockingbird," Frisell's notes gracefully
dance about the ether.
Carol Emanuel plays a supportive role on the harp and Kenny Wollesen creates
a mystical ambiance with the vibes and bells. Given the meditative quality,
this is wonderful music to play first thing in the morning. Mockingbirds were
named on account of their ability and interest in reproducing the sounds of
other birds. In an odd parallel, the only drawback to "Mockingbird" is that
it's a rehash of the group's previous work. It's stronger than the first album,
" Gnostic Preludes ," but there's little differentiation between this effort and
the previous three albums, " In Lambeth ," " the Mysteries ," and " the Testament
of Solomon ." Given a blindfolded test, most listeners would be unable to tell the
difference between "Mockingbird" and the last few albums. So it's a beautiful recording,
but only completists will need the entire quintet. If Zorn is going to continue this
fantastic group, let’s hope that the next album moves in a fresh direction.
In the end, "Mockingbird" may be redundant, but the music still takes flight. 50 Years of De-Evolution (1973-2023) Unboxing
https://www.youtube.com/watch?v=Y-qHpsLBU0Y CVがほとんどレジデンツのパクリなのが最近よ〜くわかってきた "Alan Davies has gone where no one has gone before. No, not on the Enterprise,
but into the mind of tENTATIVELY, a cONVENIENCE, America's favorite Pataphysician,
now fully eschewing art in favor of mad science, reveals to Alan what he really
thinks about all those poses of the worlds of art and poetry.
"I've long since rejected being an 'artist' b/c it's my opinion that art is an
uncreative context & I prefer to be creative." From the censorship of his work to
the explosive revelations of his most rational analysis, reading the interview between
two of America's most radical artists is a consummation of something incredbly perverse
under your Christmas tree." -- James Sherry, poet, essayist, publisher of Roof Books
"My job as Sacred Scribe of the Church of the SubGenius has brought me into contact with
some DAMNED interesting, and, even better, damned WEIRD indiviudals. Of the many hundreds,
perhaps many thousands of weirdos I have known, the man we call Saint tENTATIVELY,
a cONVENIENCE stands out as one of the earliest-met and yet, even 35 years later, still among
the very most weird and interesting. His startling originality and sheer testicularity would
be enough to qualify him as a SubGenius Saint. But on top of that he's a nice fellow.
But you know he must be pretty smart, because you can kind of see his brain under his hair."
- Rev. Ivan Stang, Sacred Scribe #273, Church of the SubGenius
"Buxom blond bombshell, Miss Belinda Blurb, in the act of blurbing, once famously blurted out,
"Yes, this is a 'BLURB'." Those words are as true today as when they were first written by
Galett Burgess in 1907. Over thirty years ago, tENTATIVELY a cONVENIENCE, exposed me to the
joys of subverting reality, and changed my life in the process. Here in 2013, Mr. cONVENIENCE
has done it again with another excellent installment in his inspirational series of must read,
self help books. Mr. cONVENIENCE inspires us all with his insightful observations, entertaining
anecdotes, and shoddy financial advice. If YOU are going to READ BOOKS this year, THIS could be
ONE of those BOOKs." -- Vermin Supreme, Presidential Candidate
"As so much of tENT's work aspires to an apotheosis of self-referntiality, wherein the work's
workings are explicated as they are embodied in the work itself, the personal interview is
in many ways the perfect form for his ideas. As one of tENT's laziest readers I welcome the
relatively un-coded directness of this book, and for the opportunity to learn more about his
life, from his earliest adventures in reading (which accounts reached in and tickled my little
boy brain) to his last mega-word. This book is relatively easy to ingest, but is filled with
seeds that swell and germinate inside the receptive head. As with all his work it is rigorously
logical yet zany; laced with ideas from the "highest" partials yet rooted and practical; and
serious yet funny. These are not contradictions though many might take them as such, and they
are not so much strategies to evade intellectual entrapment (however worthy an endeavor) as
self-flowering practices of our innate freedom and inherent weirdness. tENT as esoteric
everyman! Listen and learn! But open this book at your own risk, as the attentive tENTian
reader will begin to die laughing while reading it. I'll laugh through my last breath
any day, so long as tENT never finishes pronouncing his last word, laughing as he goes."
- Eddie Watkins, poet, GoodReads reviewer 0963名盤さん
2023/10/17(火) 11:23:56.44ID:iy8RICqf
>>９６１
プログレ自体知らないんだろな
サードイヤーバンドも知らなかったし
ニルバーナも知らない
21世紀とか有名なやつを知ったかぶり
初期サバスがヘビーメタルの元祖とかにわか丸出しだからな
0966名盤さん
2023/10/17(火) 11:29:32.93ID:RrnXW+Mr
>>９６３
バカメンはスミスとかラブレス好きな時点で元々の感性は超凡庸だからね
プログレもフールズメイト丸コピーしてるだけの単なるカルト信者でしかないから
丸コピー馬鹿ってサルマネしてるだけだから応用力皆無だし
0970名盤さん
2023/10/17(火) 11:38:59.45ID:RrnXW+Mr
バカメンはメタル系もパンテラとスレイヤー最近聴き出した超ニワカだよｗ
0971名盤さん
つーか洋楽板全体に関してスワンズだのアルビニだの挙げてるの見ても
単なるカートコバーン信者にしか見えないｗ
0981名盤さん
2023/10/17(火) 13:29:55.96ID:RrnXW+Mr
バカメンで一番糞ワロタのは「後追い」でも音源さえ聴ければどうでもいいとか云ってたのに
ドリトルリアルタイムとか小５からテストデプト聴いてたとかその前にNWさらったとか
年齢詐称および経歴詐称し出した時だなｗ
0984名盤さん
2023/10/17(火) 13:53:05.90ID:6i5O7z4a
学歴詐称と年齢詐称と経歴詐称って全部完全にウソじゃんｗ 0354名盤さん
2023/11/16(木) 17:12:05.70ID:VpsA9fHp
>>345
バカメンはカートコバーン信者で間違いないよ
ピクシーズ崇拝、アルビニ崇拝、スワンズ崇拝、ブラッグサバス崇拝
っておいおいｗ完全にカートコバーンのコピーロボットじゃないかよｗ
0355名盤さん
2023/11/16(木) 17:12:58.12ID:VpsA9fHp
コバーンリスト馬鹿信者の典型っていうかｗ
コバーンそっくり丸コピー趣味みたいなｗ
0359名盤さん
コバーンのサルマネしてれば通気取れると思ってる典型的な馬鹿っていうかｗ
サルマネ馬鹿信者かつ後追いかつ教祖様否定の３重苦リスナーみたいなｗ
0361名盤さん
2023/11/16(木) 17:19:45.44ID:VpsA9fHp
この後追いのコバーンサルマネリスナーがほんとゴミのように溢れてるよね５ｃｈってｗ
0363名盤さん
2023/11/16(木) 17:21:45.95ID:VpsA9fHp
で、コバーンが好きな本当の理由は「ルックスがいいから」
っていうジャニオタリスニングだしｗ
それ足すと４重苦リスナーじゃんみたいなｗ
0366名盤さん
2023/11/16(木) 17:24:41.94ID:VpsA9fHp
いい加減うぜえからコバーンサルマネリスナーｗ
永遠にやってろ教祖様崇拝リスニングｗ
0368名盤さん
2023/11/16(木) 17:27:54.83ID:VpsA9fHp
スミス、ラブレス、コバーンって完全に元ロキノンじゃんｗ 郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ）
郡部くん＆レコメンがんばれ〜（ ＾ω＾）ノ 嫌われ者キチガイ糞豚包茎フランス書院タヒね！m6（ ＾ω＾ ） 0963名盤さん
2023/10/17(火) 11:23:56.44ID:iy8RICqf
>>９６１
プログレ自体知らないんだろな
サードイヤーバンドも知らなかったし
ニルバーナも知らない
21世紀とか有名なやつを知ったかぶり
初期サバスがヘビーメタルの元祖とかにわか丸出しだからな
0966名盤さん
2023/10/17(火) 11:29:32.93ID:RrnXW+Mr
>>９６３
バカメンはスミスとかラブレス好きな時点で元々の感性は超凡庸だからね
プログレもフールズメイト丸コピーしてるだけの単なるカルト信者でしかないから
丸コピー馬鹿ってサルマネしてるだけだから応用力皆無だし
0970名盤さん
2023/10/17(火) 11:38:59.45ID:RrnXW+Mr
バカメンはメタル系もパンテラとスレイヤー最近聴き出した超ニワカだよｗ
0971名盤さん
つーか洋楽板全体に関してスワンズだのアルビニだの挙げてるの見ても
単なるカートコバーン信者にしか見えないｗ
0981名盤さん
2023/10/17(火) 13:29:55.96ID:RrnXW+Mr
バカメンで一番糞ワロタのは「後追い」でも音源さえ聴ければどうでもいいとか云ってたのに
ドリトルリアルタイムとか小５からテストデプト聴いてたとかその前にNWさらったとか
年齢詐称および経歴詐称し出した時だなｗ
0984名盤さん
2023/10/17(火) 13:53:05.90ID:6i5O7z4a
学歴詐称と年齢詐称と経歴詐称って全部完全にウソじゃんｗ 0354名盤さん
2023/11/16(木) 17:12:05.70ID:VpsA9fHp
>>345
バカメンはカートコバーン信者で間違いないよ
ピクシーズ崇拝、アルビニ崇拝、スワンズ崇拝、ブラッグサバス崇拝
っておいおいｗ完全にカートコバーンのコピーロボットじゃないかよｗ
0355名盤さん
2023/11/16(木) 17:12:58.12ID:VpsA9fHp
コバーンリスト馬鹿信者の典型っていうかｗ
コバーンそっくり丸コピー趣味みたいなｗ
0359名盤さん
コバーンのサルマネしてれば通気取れると思ってる典型的な馬鹿っていうかｗ
サルマネ馬鹿信者かつ後追いかつ教祖様否定の３重苦リスナーみたいなｗ
0361名盤さん
2023/11/16(木) 17:19:45.44ID:VpsA9fHp
この後追いのコバーンサルマネリスナーがほんとゴミのように溢れてるよね５ｃｈってｗ
0363名盤さん
2023/11/16(木) 17:21:45.95ID:VpsA9fHp
で、コバーンが好きな本当の理由は「ルックスがいいから」
っていうジャニオタリスニングだしｗ
それ足すと４重苦リスナーじゃんみたいなｗ
0366名盤さん
2023/11/16(木) 17:24:41.94ID:VpsA9fHp
いい加減うぜえからコバーンサルマネリスナーｗ
永遠にやってろ教祖様崇拝リスニングｗ
0368名盤さん
2023/11/16(木) 17:27:54.83ID:VpsA9fHp
スミス、ラブレス、コバーンって完全に元ロキノンじゃんｗ 0517名盤さん
2023/11/29(水) 12:09:38.22ID:lmDN2Xf6
バカメンで糞ワロタのはコバーン信者ってだけじゃなくレッチリも好きなのなｗ
あんなのコバーン以上の超子供騙しバンドじゃんｗ
この辺のスミス、ラブレス、コバーン、レッチリ辺りのフェイバリット並び見ると
ロキノン臭がきつ過ぎて頭クラクラするｗ
0518名盤さん
2023/11/29(水) 12:11:37.33ID:lmDN2Xf6
ロキノンはいい加減に卒業してくださいねｗ
あなたはいつまでロキノンなんですか？
0519名盤さん
2023/11/29(水) 12:26:14.51ID:jbedtu3X
スミス、マイブラ、ニルバーナ、レッチリってｗ
ここにレディオヘッド入れるとおれの嫌いな５大バンド完成しちゃうんですがｗ
0521名盤さん
2023/11/29(水) 12:28:50.50ID:jbedtu3X
スミス、マイブラ、ニルバーナ、レッチリ好きな時点でミーハーな俗物極まりないｗ
こんなのがルーツってもうｗ
0527名盤さん
2023/11/29(水) 13:52:45.43ID:kFRIVnyj
＞俺はレッチリもニルヴァーナも好きだと言った事も思った事もアリマｯセン♪
レッチリスレで「最強リズム隊」とかよく語ってたよねｗ
ピクシーズとかアルビニとかスワンズとかサバスとかどう見てもコバーン崇拝完コピ趣味だしｗ
そういえばあぶらだことかディスヒートのフールズメイトそっくり丸コピー趣味も完全否定してたなｗ
それ以外にも高卒なのに大卒設定だったりドリトルリアルタイムとか小５からテストデプト聴いてたとか
その前にＮＷ一通りさらったとか完全に年齢詐称および経歴詐称だしｗ
要するに何もかも全部完全にウソじゃんｗ 0282名盤さん
2023/12/03(日) 20:26:16.89ID:6fSK7O2R
コニープランクと云えば Phew の 2nd
ドイツ絡みってホントにそれくらいしか好きになれんかった
あとはブリキの太鼓のサントラくらいか
0752名盤さん
2023/12/05(火) 18:14:33.70ID:y1Nkyo88
>>282
Phewは1stとOUR LIKENESSがコニープランクプロデュース
おまえが挙げてる２ndはコニープランク全く無関係ｗ
さすがのバカメンクオリティw
2023/12/05(火) 18:36:08.58ID:y1Nkyo88
あの音のどこがコニープランクなんだろうねえｗ
相当遠いよねコニープランクからはｗ
0757名盤さん
2023/12/05(火) 18:41:36.10ID:y1Nkyo88
せっかくの愛聴盤でも全く理解できないで聴いてるとこうなっちゃうよねｗ Modern Classic Recordings, an imprint of Light in the Attic Records, proudly announces
the deluxe vinyl reissues of Morphine's final two studio albums: _Like Swimming_ (1997) and _
The Night_ (2000), marking the very first availability of both titles on wax. Each album has been
lovingly remastered by Pete Weiss at Boston's Jade Cow Music, with lacquers cut by John Golden.
Both titles were pressed at Austin, TX's Gold Rush Vinyl and are each available in two colorways.
The 1xLP _Like Swimming_ (which features such favorites as "Early to Bed, " "French Fries with Pepper,
" and "Eleven O'Clock") can be found on opaque blue or translucent red wax, while the 2xLP,
45-RPM edition of _The Night_ (featuring "Rope on Fire, " "Top Floor, Bottom Buzzer, " and "The Night, ")
is available on orange translucent or purplish hue vinyl. Rounding out each package is a 20-page booklet,
featuring rare and never-before-seen images from the band's archives, including photos by Lana Z. Caplan
and Danny Clinch, artifacts from Morphine's career, and unseen art by the band's late frontman,
Mark Sandman. A major highlight of both packages are the insightful new liner notes by Ryan H.
Walsh-a Boston-based journalist, musician, visual artist, and author of the acclaimed 2018 book _
Astral Weeks: A Secret History of 1968_. Walsh's notes include a handful of new interviews detailing
the band's career, including one of the final interviews with Morphine drummer Billy Conway, who sadly
passed away in 2021 following a battle with cancer. Both albums are housed in deluxe gatefold jackets,
featuring gorgeous art direction and design by Darryl Norsen at D. Norsen Design, also of Boston.
Dedicated to the memories of Sandman and late drummer Billy Conway, both albums were produced with the
full support of Morphine's surviving members (drummer Jerome Deupree and saxophonist Dana Colley),
as well as the band's friends, family members, and collaborators-many of whom shared their memories
with Walsh. _Like Swimming_ and _The Night_ follow Modern Classic Recordings' acclaimed vinyl reissue
of Morphine's sophomore album, _Cure For Pain_, first reissued on LP in 2011. *MORE ABOUT MORPHINE AND
_THE NIGHT_:* Formed in 1989, Morphine quickly gained a name for themselves in Boston's underground scene,
thanks to their unconventional instrumentation, their clever, offbeat lyricism, and their utterly unique
sound. Named for Morpheus, the Greek God of Dreams, the trio (singer, songwriter, and bassist Mark Sandman,
saxophonist Dana Colley, and drummer Jerome Deupree) delivered a mesmerizing blend of tonalities that
were moody, yet seductive: Sandman's intriguing baritone vocals and a two-string slide bass guitar (
initially outfitted with just one string), Colley's baritone sax (he was known to play two horns at
the same time), and the vibrant percussion of original drummer Deupree and then Billy Conway, who frequently
stepped in as drummer. When it came to classifying Morphine's music, critics were at a loss. Was it jazz?
Blues? Alt-rock? Beat poetry? To avoid the inevitab
le pigeonholing, Sandman coined his own genre: Low Rock. Forming a creative partnership with producer
Paul Q. Kolderie (whose credits read like a who's who of alt-rock heroes, including Radiohead, The Lemonheads,
Hole, and the Pixies), the band released their critically-acclaimed debut, _Good_, in 1991. When they
followed with 1993's _Cure for Pain_, their fanbase had grown exponentially, leading to tours across the US,
Europe, Australia, and Japan. 1995's Yes broke the Billboard 200-by then, the trio had scored several hits
on college radio, while videos for "Thursday" (off _Cure for Pain)_ and "Honey White" _(Yes)_ played on MTV. At the same time, Morphine's music was gaining further exposure through synchs in major films, including
David O. Russel's feature debut, _Spanking the Monkey_ (1994), Beautiful Girls (1996), and the GRAMMY®-nominated
soundtrack for Get Shorty (1995). Amid the '90s signing boom, it was only inevitable that the major labels
would come calling. As the trio began work on their fourth studio album, they received an enticing offer
from the newly-founded Dreamworks Records. But signing with the LA-based label would be both a blessing
and a curse-particularly for Morphine's supremely independent frontman. In his liner notes for _Like Swimming_
, Ryan H. Walsh suggests that after years of uncertainties, the band's newfound sense of security carried over
into their songwriting. " _Like Swimming_ is an album about getting into the flow of things finally going
your way, about comfortably making use of your talents and doing it all with confidence, grace, and style,
" he writes. That air of lightness marked a stylistic departure for the trio and can be heard throughout
the album. In his notes for the band's fifth and final studio album, _The Night_, Walsh writes, "Sandman
was determined to prove [the critics] all wrong. He was also hell-bent on turning in an album... which stayed
true to his artistic vision but also sold plenty of records. " With anxieties rising, the trio entered the
studio with Kolderie and his producing partner, Sean Slade, as well as with assistant engineer Matthew Ellard.
But the mood became increasingly tense-particularly between Sandman and Kolderie. Eventually, as things
deteriorated, Sandman took over as producer, setting up shop in his loft, with Ellard at the controls.
In addition to the changes behind the console, sessions for _The Night_ were markedly different. Firstly,
both Deupree and Conway took part in the recordings, effectively making the trio a quartet. Additionally,
the band was joined by an array of guest artists, including the celebrated keyboardist, John Medeski,
and a string section, who added lush textures throughout the album. The writing and recording process was
also new for Morphine. For previous albums, the trio was largely familiar with the songs that they would be
recording, having performed them ahead of time during shows. Whereas sessions for _The Night_, recalls Deupree,
were "just jamming around... ideas. Mark might have had a sketch of a song, and we would come up with an
arrangement and then play it forever... Then Mark would go back through the tape and find the section that
he liked the best and build on top of that. " Walsh expounds that this is why tracks like "'A Good Woman
Is Hard to Find' fades in and out, as if it had been going on long before what you hear and that it continued
long after the track ended (because it did!). " He continues, "Deupree recounts one session where he began
warming up with a spontaneous drum pattern, soon joined by Billy. Sandman came running from the other side of
the loft, hit record, and began playing bass... That moment became track two on the record, 'So Many Ways. '" Among the other songs on _The Night_ is the Boston-centric "Top Floor, Bottom Buzzer, " featuring an organ
cameo by Medeski (who also lends his talents to the menacing "I'm Yours, You're Mine"). In the upbeat, soulful
track, Sandman describes an evening out at a friend's house party. The enigmatic, Middle Eastern-inspired
"Rope on Fire, " meanwhile, features a striking performance on the oud by Brahim Fribgane and accompaniment
by cellist Jane Scarpantoni, violist Joseph Kessler, and double bassist Mike Rivard. Scarpantoni, who has
appeared on albums by Lou Reed, Beastie Boys, and R. E. M. , among many others, also joins the band on the
opening title track, which Walsh proclaims to be "among the very best, hauntingly beautiful songs the band
ever produced. " Strings also bolster the closing track, "Take Me with You, " a song that feels particularly
poignant, given that Sandman would be gone by the time that _The Night_ was released. "From start to finish,
this album would be Mark Sandman's full creative vision realized, " writes Walsh. Colley adds, "For the first
time in many years, I saw Mark satisfied again. He was like, 'Okay, we did it. This is the record. 23 Skidoo are a British band playing a fusion of industrial, post-punk, alternative dance, rock, and world music. The group was named after an early 20th century American slang phrase that appeared in the work of Aleister Crowley, William S. Burroughs, Robert Anton Wilson and filmmaker Julian Biggs. Formed in 1979 by Fritz Catlin, Johnny Turnbull and Sam Mills, and later augmented by Alex Turnbull and Tom Heslop, 23 Skidoo had interests in martial arts, Burundi and Kodo drumming, Fela Kuti, The Last Poets, William S. Burroughs, as well as the emerging confluence of industrial, post-punk and funk, heard in artists such as A Certain Ratio, Throbbing Gristle, Cabaret Voltaire, The Pop Group and This Heat.
Their first 7", "Ethics" was released in 1980, followed by the "Last Words" 12", produced by Stephen Mallinder from Cabaret Voltaire. A Peel Session was recorded on September 16, 1981 that included other associates Richard Heslop and Tim Soar. Their debut album, Seven Songs, was released in 1982 and is said to evoke the claustrophobic humidity of an African forest. An experimental EP Tearing Up The Plans was produced without the Turnbull brothers, who were traveling in Indonesia. Guitarist Sam Mills and vocalist Tom Heslop left the band soon after, and with the arrival of slap-bassist Peter "Sketch" Martin following the break-up of Linx, the lineup remained the same until their disintegration in 2003.
With the Turnbull brothers back from Indonesia where they were exposed to Gamelan, the band recruited Aswad's horn section for the "Coup" 12", which featured samples from Francis Ford Coppola's Apocalypse Now. It has been alleged that The Chemical Brothers stole the bass line for their "Block Rockin' Beats" track. The Culling Is Coming (1983 - noted for featuring the band live at the first WOMAD Festival) and Urban Gamelan (1984) followed, criticized at the time for their shift towards more abstract sounds. After having been evicted from their rehearsal space at Genesis P-Orridge's 'Death Factory' the band shifted their focus towards hip hop and released a few singles and a compilation album Just Like Everybody in 1987.
In 1989 the Turnbull brothers formed the Ronin label, and released material by Deckwrecka, Roots Manuva, and Rodney P amongst others. They signed to Virgin Records in 1991 and were able to build a new studio with their advance. In 2000 they released a self-titled LP, which featured contributions from Pharoah Sanders and Roots Manuva. This was followed by a compilation of singles, The Gospel Comes To New Guinea in 2002, and for the first time on CD, reissues of Seven Songs and Urban Gamelan. In 2003 the Turnbull brothers liquidated the company. In 2008 LTM reissued the whole back catalog of 23 Skidoo. A Winter Ritual (side B of the original LP) was recorded at Dartington Music College 23 October 1982. A Summer Rite (side A of the original LP) was recorded live at the WOMAD Festival starting at 11.23am on 17 July 1982. David Tibet played Tibetan Trumpet on "Invocation" to "Stifling". Also appearing at the festival were Echo And The Bunnymen, Simple Minds, Peter Gabriel along with the Drummers Of Burundi and Musicians Of The Nile. An Autumn Journey was recorded live at Tielt, Belgium 08/10/82. The cover photo for the album was the first record sleeve by music photographer Andrew Catlin, who worked with 23 Skidoo over several years.
The album was originally released on Les Disques Du Crépuscule (Belgium), Base Records (Italy) and Operation Twilight (UK) in 1983. The original vinyl edition included a locked groove on side A between the songs "Stifling" and "Healing (For The Strong)" with "Command as f**k" inscribed in it (the phrase can be heard during the song "Flashing"). Etched in the run-out groove on side B were the words, "The eyes are not here." An inlay card was available with the original albums that contained the disclaimer "23 Skidoo will not be liable for any injury, loss or damage, direct or consequential, arising out of the use of, or inability to use this product."
The Culling Is Coming was later reissued on L.A.Y.L.A.H. Antirecords (1988) with the front cover artwork removed and the rear cover artwork on the front and Boutique Records (2003) with the original artwork restored and the sides switched (Winter coming before Summer) with an additional previously unreleased track added. ide A: "A Summer Rite" - recorded live at WOMAD 17.7.82. Has a lock groove between A4 and A5, with "Command as fuck" inscribed in it.
Side B: recorded at Dartington College of Music, 22/23.10.82, produced 2/3.11.82. Initial recordings by Street Level Recording Mobile. Etched in run-out groove: "The eyes are not here." Total time: 23:00.
From inlay: "23 Skidoo will not be liable for any injury, loss or damage, direct or consequential, arising out of the use of, or inability to use this product."
Many thanks Richard Heslop and Susan Sharrot
Also released in black and white artwork through Les Disques Du Crepuscule (TWI 123), later reissued on L.A.Y.L.A.H. Antirecords with different artwork. Lee Underwood's life has revolved around reading and writing words, and playing and listening to music.
As a lead electric guitarist living in LA, he toured and recorded with singer and songwriter Tim Buckley
for seven years during the sixties and early seventies. As a solo acoustic guitarist, he recorded
California Sigh in 1988 and earned a living playing clubs, hotels, and concerts in Santa Fe for seven years.
In 2003 he published Blue Melody (Backbeat, San Francisco) his critically acclaimed book about the late,
great Tim Buckley, honored by Britain's Uncut music magazine as one of the ten best music books of the year.
He recorded his first solo piano CD, Phantom Light, in 2003. He completed his lengthy novel, Diamondfire:
The Journey, in 2005, and continues to write essays, poetry, and short stories while living with his wife
in a modern cabin in a mountain forest near Yosemite National Park, California. For nearly 20 years in LA,
Underwood wrote about music and musicians for Down Beat (West Coast Editor, 1975-1981), the LA Times, Rolling
Stone, the LA Weekly, Body/Mind/Spirit and numerous other publications. He interviewed dozens of musicians
along the way, including pianist McCoy Tyner, guitarist Joe Pass, synthesists Vangelis, Michael Stearns,
and Steve Roach, Tibetan bell player Henry Wolff, and Hoomi vocalist David Hykes (of the Harmonic Choir).
In 1990, he co-authored flutist Paul Horn's autobiography, Inside Paul Horn (HarperCollins), and received
the Crystal Award for Music Journalism. As a poet, Underwood co-hosted a radio show for two years with Preston Chase, Between the Lines: Poetry to Take You Home. He has given numerous readings in New Mexico and California, and has published poems in Light of Consciousness, ZamBomba, In the Grove, and The Central California Poetry Journal. Whenever possible at his readings, he plays original piano music. Many of the poems included in Warrior,
Lover, Mystic are featured on his web site at leeunderwood.net. "23 Skidoo were unique among the crowd of early 80s post-punk and industrial innovators. Unlike the cold, harsh music of their peers, the ever-fluctuating line-up remained just as confrontational but incorporated warmer elements of funk, world music and, later, hip-hop. Up-tempo dance numbers would share bed with eerie experimental sound collages, the band being influenced by everything from Gregorian chant to Jeet Kune Do martial arts. And then there's the trifling matter of a little something called Coup, which went on to inform the Chemical Brothers' smash Block Rockin' Beats. This reissue, together with Seven Songs and Urban Gamelan, collects the work of one of the most diverse and influential bands of the era" (Clash, 01/2009)
"The rhythm and sheer energy here have, if anything, intensified over the years" (Record Collector, 01/2009)
"JLE bundles together two earlier compilations in expanded form, and with some crucial additions, among them the superior dub mix of Last Words, and their last great piece, the slinky Ooze from 1986" (The Wire, 01/2009)
"This newest version of the band's original singles collection couples most of the tracks from the original vinyl issue, as well as the separate Just Like Everybody (Part Two) from the late 1990s to create a definitive anthology of material. Most will be happy with one superb disc and one adequate one compared to the mediocrity of many releases this day and age, and LTM once again have put together a package that celebrates the legacy of a band that has somewhat been forgotten in lieu of their contemporaries" (Brainwashed, 11/2008)
"Long overdue singles compilation. Part Two straddles 23 Skidoo's metamorphosis into UK HipHop curators Ronin. Once again, received wisdom about this music - that it is glossier, less extreme than their earlier work - is not entirely true. Meltdown, for instance, harbours far more bad omens than the justly revered Coup" (The Wire, 02/2003)
"Pioneers for the ears" (Metro, 03/2012) Even though I've been an admirer of the Turnbull brothers' work for years and have all their albums etc., I'd never heard of their father William Turnbull. Turns out he is a sculptor and painter of some renown. Its a fact, its real, and that's just the way it is. The DVD, which was directed by Alex Turnbull, is a retrospective of his father's work. Its the sort of thing you normally see on Sky or BBC arts programs. Its narrated by the actress and model impregnation machine that is Jude Law. There are lots of interviews with various weirdy-beardy luminaries from the modern arts establishment, who all have nice things to say about Mr Turnbull and his art. Then there are interviews with the man himself - he certainly led a very interesting life that's for sure. And there is lots of footage of various exhibitions/art works - its interesting if that sort of thing tickles your cul-de-sac.
From the separate perspective of a 23 Skidoo fan, the DVD also offers a fascinating insight into where their music came from. Their songs, particularly on their earlier industrial and gamelan albums, do have a sculptural quality to them. What is remarkable, and revealing, is just how well the soundtrack of their songs fits with the visuals of their father's work. The songs and the sculptures compliment each other perfectly. Their mother was a very talented artist too, possibly even better than their father. Who knows, maybe they'll do a DVD about her work too.
The CD is okay. Most of the songs are from their later, less innovative, less interesting 'funky' period. If you have all the previous albums then you'll have all the tracks already. That said, if you're a fan of 23 Skidoo then you will definitely want this in your collection, for the DVD alone. DURUTTI COLUMN
THE MISSING BOY THESE NEW PURITANS
SWORDS OF TRUTH Naive Art - Red Flag (1989)
https://imgur.com/a/Kae4ONQ 
