Monday, 14 August 2017

Public Image Ltd. ‎– "Metal Box - (Super Deluxe Edition)" (Virgin ‎– 570 149-1) 2016/1979

In the history books of rock'n'pop'n'roll there are few records that deserve their place in the annals as one of the most strikingly original and inspired pieces of genius as much as PiL's "Metal Box".
Maybe "Trout Mask Replica", "Are You Experienced", "Revolver", "Pet Sounds" (I hate pet sounds by the way,JZ), "Highway 61","Unknown Pleasures",.....the list is short,and admittedly incomplete,but this album from outer space is on there......even though I prefer the first album,which i have now decided is actually called "First issue"......the ultimate 'bad attitude' album or what?
After this classic conceptual piece of progressive post-punk, Lydon finally surrendered to his ego and not so much burned out,as fizzled out; turning into the publicity seeking media whore he is today(His Public Image is no longer 'Limited'!).
PiL ceased to exist as soon as Wobble was 'sacked', by a goofy tin-pot rock star and a disappearing smack can guess who they are. As it is with many artists,the more difficult and untenable the circumstances the greater the product.These conditions could never have continued to produce a Metal Box 2,and nor should they.The saddest thing is that Lydon was allowed to carry on as 'PiL', soiling the brand name,even to this day, with the circus act that is the new PiL.
So,here we are with the bottom of the Metal Barrel thoroughly scraped for every last shard of related material to satisfy the public, who, in classic showbiz terms, were left wanting MORE!....which is what we all get of everything these fact too much......and the crowd screamed for LESS!


The Metal Box - (Remastered)

1-1 Albatross 10:35
1-2 Memories 5:05
1-3 Swan Lake (AKA Death Disco) 4:12
1-4 Poptones 7:46
1-5 Careering 4:31
1-6 No Birds (Do Sing) 4:41
1-7 Graveyard 3:08
1-8 The Suit 3:29
1-9 Bad Baby 4:29
1-10 Socialist 3:09
1-11 Chant 5:00
1-12 Radio 4 4:27

B-sides, Mixes & BBC Sessions

2-1 Death Disco (7” Edit) 4:17
2-2 Death Disco (12”) 6:43
2-3 Half Mix / Megga Mix 6:52
2-4 Death Disco [Drums – Richard Dudanski] 2:27
2-5 Memories (7/12”) 4:52
2-6 Another 3:51
2-7 Poptones [Drums – Martin Atkins] 4:32
2-8 Careering [Drums – Martin Atkins] 7:32
2-9 Chant [Drums – Martin Atkins] 5:16
2-10 Poptones [Drums – Martin Atkins] 3:44]
2-11 Careering [Drums – Martin Atkins] 5:03
2-12 Pied Piper
[Featuring – John Lydon, Keith Levene, Steve New] 1:51

Rare & Unreleased Mixes:

3-1 Poptones (Version 3) 6:36
3-2 Swan Lake (Monitor Mix) 9:24
3-3 Albatross (Monitor Mix) 10:24
3-4 Swan Lake ("Master") 7:42
3-5 Unknown Instrumental Jam 1 ("Chant") 6:30
3-6 Unknown Jam 2 ("Megachant") 5:02
3-7 Music From An Oven (AKA Memories) 4:42
3-8 Radio 4 ("Symphony Suite") 7:19
3-9 Home Is Where The Heart Is (Original Mix)
Featuring, Bass – Jah Wobble 6:39
3-10 Unknown Instrumental 2 5:53

Live At Manchester, The Russell Club (The Factory) 18/6/79:

4-1 Chant 7:51
4-2 Swan Lake (AKA Death Disco) 7:39
4-3 Memories 7:54
4-4 Public Image 8:48
4-5 Annalisa 5:49
4-6 No Birds (Do Sing) 6:51

"B-sides, Mixes & BBC Sessions"
2-1: A-side of 'Death Disco' 7" single.
2-2: A-side of 'Death Disco' 12" single.
2-3: B-side of 'Death Disco' 12" single. Re-recorded and renamed version of 'Fodderstompf' from the debut PiL album 'First Issue'.
2-4: BBC TV, Top Of The Pops July 12/7/79 [Misprinted as "12/7/72"]. Audio recording of live TV appearance.
2-5: A-side of 'Memories' 7" and 12" singles. Alternative mix to the 'Metal Box' version.
2-6: B-side of the 'Memories' 7" and 12" singles. Vocal version of the instrumental track 'Graveyard' from 'Metal Box'.
2-7 to 2-9: BBC Radio 1, John Peel Session 17/12/79. PiL's one and only John Peel radio session. Three songs recorded at BBC Maida Vale Studios, London.
2-10, 2-11: BBC TV, Old Grey Whistle Test 5/2/80. Audio recording of live TV appearance.
2-12: Rare post-'Metal Box' track from budget 1980 Virgin compilation LP 'Machines'. [...] recorded at the Manor Studios, Oxfordshire.

"Rare & Unreleased Mixes"
3-1: Alternative mix. Recorded at the Manor Studios, Oxfordshire, 1979. Previously unreleased.
3-2: Original monitor mix. Previously only released as limited edition Record Store Day 12" single in 2014, and as an audio extra on the 2005 John Lydon 'Best of British £1 Notes' compilation DVD. Recorded at The Townhouse, London, March 21st 1979.
3-3: Original monitor mix. Previously released as an audio extra on the 2005 John Lydon 'Best of British £1 Notes' compilation DVD. Recorded at The Townhouse, London, March 21st 1979.
3-4: Alternative mix of 'Death Disco' / 'Swan Lake'. Recorded at The Townhouse, London, May 3rd 1979. Previously unreleased.
3-5: Alternative early mix of 'Chant'. Recorded at The Townhouse, London, May 21st 1979. Previously unreleased.
3-6: Experimental jam of what would become 'Chant'. Recorded at The Townhouse, London, May 21st 1979. Previously unreleased.
3-7: Early mix of 'Memories'. Recorded at The Townhouse, London, August 13th 1979. Previously unreleased.
3-8: Extended alternative mix of 'Radio 4'. Recorded at The Townhouse, London, October 13th 1979. Previously unreleased.
3-9: Original mix of track that later appeared as the B-side of the 'Flowers of Romance' 12" single. This version [...] was recorded at The Townhouse, London, March 11th 1980. Previously unreleased.
3-10: Post-'Metal Box' instrumental from same sessions as 'Home is Where The Heart Is'. Recorded at The Townhouse, London, March 11th 1980. Previously unreleased.

Sunday, 13 August 2017

"Tommy Vance Show, Capital Radio July 16th 1977 - "Johnny Rotten, The Punk and His Music"

Ok, here's the infamous Tommy Vance show, when Johnny Rotten exposed himself as a prog/folk/reggae fan. No New York Dolls on this show, and i'm sure Malcolm Maclaren was fuming.Serves him right for breaking the first rule in Pop svengali-ism.....Don't Pick anyone with a brain for your living art project!
It's amusing to listen to Lydon trying not to alienate his street cred whilst at the same time audibly loving Tommy Vance's naked sycophancy. 
"What turned me on to you was that here's someone who reaaallllly knows what he's talking about", said Tommy (from memory so don't pull me up about any errors please!?).
"I phink I do" says Johnny, who's hideous Ego-trip was just about to go into first gear around this time in 1977.
He always gave me the impression that he didn't know what he was talking about,constantly making contradictory and confused statements, whilst banging on about being " 'Onest.".
But nevertheless, he was in two of the greatest groups of all time, had great stage and media charisma, and wore good clothes. Of course, as it was (almost)written in Neil Youngs tune from "Rust Never Sleeps", he burnt out, but then insisted on fading away into the cuddly TV chat show guest that he's turned into today.
Oh Yeah, he's a fucking Brexiter as well; the final nail in the coffin of my teenage idolatry......but Pil 1.1 and 1.2 are immortal in their shear brilliance,so I forgive him. And he likes Captain Beefheart, Van der Graaf, and Gary Glitter, so he ain't all bad.
To counteract Vance's sickening sycophancy, there's always the vintage radio adverts, which are probably more entertaining than listening to Rotten's 'I'm working claahs' monologues between questions.  


1.Tim Buckley - Sweet Surrender
2.The Creation - Life Is Just Beginning
3.David Bowie - Rebel Rebel
4. Unknown Artist - Drowsy Maggie
5.Augustus Pablo - King Tubby Meets The Rockers Uptown
6.Gary Glitter - Doing Alright With The Boys
7.Fred Locks - Walls
8.Vivian Jackson and the Prophets - Fire in a Kingston
9.Culture - I'm Not Ashamed
10.Dr Alimantado & The Rebels - Born For A Purpose
11.Bobby Byrd - Back From The Dead
12.Bobby Byrd - Back From The Dead
13.Neil Young - Revolution Blues Neil Young - Revolution Blues
14.Lou Reed - Men Of Good Fortune
15.Marjory Razorblade Kevin Coyne - Eastbourne Ladies
16.Peter Hammill - The Institute Of Mental Health, Burning
17.Peter Hammill - Nobody's Business
18.Makka Bees - Nation Fiddler / Fire!
19.Captain Beefheart - The Blimp
20.Nico - Janitor Of Lunacy
21.Let's Get It On Ken Boothe - Is It Because I'm Black
22.John Cale - Legs Larry At Television Centre
23.Third Ear Band - Fleance
24.Can - Halleluhwah

Thursday, 10 August 2017

Peter Hammill ‎– "Nadir's Big Chance" (Charisma ‎– CAS 1099) 1975

1975 is often cited as the Nadir of popular music,but it contained quite a few overlooked influential classics.An often cited influence on the punk rock explosion is Hammill's "Nadir's Big Chance" album.For its anger, short aggressive tunes, and lack of showy musicianship. Also as John Lydon played a track from it on his infamous Capital radio show. That says less about this record than it does about Mr. Rotten's musical roots. He liked Folk,Prog,and Captain Beefheart, much more to do with the music after punk than during. Which explains the music he got involved with immediately after the Pistols, who really were the 'Last' rock band...time to move on. 
This is one of Peter Hammills top three albums in my opinion, alonside "Over", and "The Silent Cornser and the Empty Stage".......again he's back by his old mates from Van Der Graaf Generator, so it can sound at times like a basic version of his more celebrated group persona rather than a purely 'solo' record.


Nadir's Big Chance 3:27
The Institute Of Mental Health is Burning 3:50
Open Your Eyes 5:10
Nobody's Business 4:15
Been Alone So Long 4:20
Pompeii 4:50
Shingle Song 4:10
Airport 3:02
People You Were Going To 5:10
Birthday Special 3:40
Two Or Three Spectres 6:20

Peter Hammill ‎– "pH7" (Charisma ‎– CAS 1146) 1979

PH7 is a good litmus test for the way I feel about a lot of Hammill solo works.Lyrically, of course, they are brilliant;But he struggles to get away from that Bad experimental Musical comparison.
The cover looks like this record must be part of a dystopian future of pop, but it could as easily have come from the dystopian past of pop too. There are a fair number of concept album filler ballads littered among a few tunes that post-punk kids might like;"Porton Down" for instance.And "Careering" may well have had its title lifted by John. Q Rotten for his "Metal Box" concept album later that same year.
One of his better albums, but ultimately his wordy lyrics, and stagy delivery tend to reduce the opportunity for the music to breath.Sometimes while listening to this LP, you just want ex-choirboy Peter to just SHUT UP! Maybe even Neutralised,like the backing has been?


My Favourite 2:50
Careering (Don't Ask Me) 4:00
Porton Down 3:35
Mirror Images 3:50
Handicap And Equality 4:00
Not For Keith 2:25
The Old School Tie 4:50
Time For A Change
Imperial Walls 5:00
Mr X (Gets Tense) 4:45
Faculty X 4:10

Wednesday, 9 August 2017

Peter Hammill ‎– "Patience" - (Naive Records ‎– NAVL 3) 1983

Surprise surprise, here's a few Peter Hammill solo albums from his vast canon.This one, Patience, is the one I like the best from his post-punk period.
It still sounds like VDGG with different drumming, keyboards and less Saxes;all replaced by a minimal rock group backing in a prog/post punk stylee.....which is surprising,or not, as everyone from VDGG are in the backing band.Oh, they're sooooo versatile those progressive rockers aren't they? 
The lack of mournful ballads like refugees from a Steven Sondheim  off-broadway musical is a major plus.


Labour Of Love 5:50
Film Noir 4:13
Just Good Friends 4:20
Jeunesse d'Orée 4:45
Traintime 4:23
Now More Than Ever 5:36
Comfortable? 4:52
Patient 6:11

Tuesday, 8 August 2017

Van Der Graaf Generator - "BBC Sessions (1968-1977)"

Ok, you've all obviously got every one of VDGG's brilliant albums?....yes?.... so here's their peel sessions for the BBC.
Apart from a couple of psych tinged tracks from a 1968 'Top Gear' session, there's plenty of sublimely dark prog on offer here.....all without a single electric guitar to be heard.It's also genuinely progressive music, rather than the 'regressive' rock of Yes and ELP,who looked back to classical music rather than try to move to the future. This is what I hope the young Lydon heard in this fantastic group.


1. People You Were Going To (Top Gear)
2. Afterwards (Top Gear)
3. Necromancer (Top Gear)
4. Darkness (Top Gear)
5. After The Flood (Top Gear)
6. Refugees (Peel Session)
7. Darkness (Peel session)
8. Scorched Earth (Peel session)
9. Sleepwalkers (Peel session)
10. Still Life (Peel Session)
11. La Rossa (Peel Session)
12. When She Comes (Peel Session
13. Masks (Peel Session)
14. Theme 1 (BBC Session)
15. Cat's Eye/Yellow Fever (Peel Session)
16. The Sphinx In The Face (Peel Session)

DOWNLOAD vdgg at the bbc HERE!

Monday, 7 August 2017

Van Der Graaf ‎– "The Quiet Zone / The Pleasure Dome (Charisma ‎– CAS 1131) 1977

Another Prog combo who had a large influence on the Post-Punk era were dark-proggers Van Der Graaf Generator. Having been name-checked by Johnny Rotten on his shockingly 'hippie' stained Capital radio Show with Tommy Vance in 1977, "Johnny Rotten,The Punk and His Music', were imeadiately labeled as acceptable by the more intelligent 'punks'; as was Peter Hammill, of whom Lydon admitted to Vance that...' (he) stole a lot from dat geezer,yeah'. 
Possibly, some of the Lyrical ideas were appropriated for 'Metal Box', but beyond that I can't see anything else in common; especially not in his terrible lyrics for the Sex Pistols .
That radio show was a key moment for the next wave to move away from the tired Ramones format with shouty tunes about dole queues and boredom.
Arguably the earliest 'punk' to jump ship was Howard Devoto, who basically formed a more sneery version of Van Der Graaf Generator, called Magazine, who were prog in drainpipes with short haircuts.
Always open to moving forward, Van Der Graaf Generator, unlike most of Prog's leading lights, chose to absorb the message from the 'Punk' phenomenon, and made a more straight forward record in 1977. Shorter songs, no long suites, less showing off, and they shortened their name to just 'Van der Graaf'.
This album is still undoubtedly a 'Prog' record in its concept, but also an attempt to distance themselves from the previous musical epoch of wizards, symphony orchestras, and classical pretensions. This could easily have been a 'Magazine' album if Devoto was the singer,and Hammill could have comfortably slotted in on Magazine's "Real Life"........even if his vocal style does remind one of some singer in a bad rock opera like 'Godspell'......I suppose VDGG did do their own answer to that particular atrocity with the excellent "Godbluff" album back in '75.

The Quiet Zone:

A1 Lizard Play 4:28
A2 The Habit Of The Broken Heart 4:34
A3 The Siren Song 6:01
A4 Last Frame 6:12

The Pleasure Dome:

B1 The Wave 3:12
B2 Cat's Eye / Yellow Fever (Running) 5:20
B3 The Sphinx In The Face 5:58
B4 Chemical World 6:10
B5 The Sphinx Returns 1:12

Sunday, 6 August 2017

Harmonia ‎– "Documents 1975" (Grönland Records ‎– CDGRON152) 2016

Long lost and forgotten recordings of Harmonia in actionin 1975,as archived by Berlin School electronicist Asmus Tietchens, who provides the liner notes.
He mentions, Beckett's play "Krapps Last Tape", which is appropriate, not as a reference to using recorded sound as memories, but as a testament, or a document, to the fact that this tape isn't Krap, with one 'P'. In fact its some of the best Harmonia on record,and some thanks for this goes to Mani Neumeier(drums)of Guru Guru who adds some much needed looseness to the proceedings, and therefore,strays somewhat from basic 'Motorik' principles.
As always with Moebius and Roedelius, some of the keyboard sounds remind one of the presets on a Casiotone, as a juxtaposition between muzak and the avant-garde; always an interesting place to inhabit.


Tiki-Taka At Harmonia Studio In Forst 6:28
Live At Onkel Pö In Hamburg 9:12
Proto-Deluxe At Harmonia Studio In Forst 4:30
Live At Fabrik In Hamburg 11:38

1: Tiki-Taka at Harmonia Studio in Forst (1975)
2: Live at Onkel Pö in Hamburg (1975)
3: Proto-Deluxe at Harmonia Studio in Forst (1975)
4: Live at Fabrik in Hamburg (1975)

2+4: Culled from the tape archives of Asmus Tietchens.
1+3: Culled from the M.R. tape archives in Forst.

Saturday, 5 August 2017

Harmonia & Eno (Harmonia 76) - "Tracks and Traces" (1976/1997)

Most so-called 'Krautrock' was utter rubbish of course,mainly concerning a bunker full of hippified jam sessions and synthesiser knob twiddling.For every 'CAN' you had a hundred Amon Duul 1's.Other exceptions included the main players like Cluster (both with and without the 'K' or with or without Konrad Schnitzler),Faust,Early Ash Ra Temple,Guru Guru,and maybe even Tangerine Dream?

Notice I never mentioned 'Neu', who one really had to be there at the time to appreciate their impact. I heard 'Negativland'(The tune not the band) in about 1981, and thought 'wow what a group' So I sought out "Neu 1" and "Neu 2",which apart from that one track were utter shite, especially "Neu 2", which involved one of the tracks played at three different speeds!?....I did However appreciate the monotonous drumming, if not that flaccidly dull drum sound.But for the time they would have been a refreshing, almost 'Punk' style of no-nonsense simplicity, and a rejection of the endless guitar solo's and technical expertise that had given Rock'n'Roll a near lethal injection since 1968. 
Michael Rother, of Neu, was also in Kraftwerk when they were krap too!....but the boy done good when hooking up with Cluster to form Harmonia, who were a fair to middling ambient motorik combo, much hyped by cool muso's everywhere.
Of course, Brian Eno had to get involved at some point, and here's the posthumously released (1997) tapes of those sessions in 1976.
Very soft and bubbly ambient rock they are too.Something to drift off to sleep to of an evening;and I don't mean that it's boring, just some type of musical heroin, but a lot less addictive. You can play Harmonia once and don't feel the need to go back immediately for more,unlike that opium plant bi-product for chavs and rock fantasists everywhere.

1 Welcome
2 Atmosphere
3 Vamos Companeros
4 By The Riverside
5 Luneburg Heath
6 Sometimes In Autumn
7 Weird Dream
8 Almost
9 Les Demoiselles
10 When Shade Was Born
11 Trace
12 Aubade

THEE AETHYR " Event Horizon " (Year Zero records YEAR 005) 2010

Yes, ENO was 'inspired' by Cluster, and ENO 'inspired' a flood of similar wanna be ENO's.If I was to be any musician in the pop universe, i would probably choose to be a Non-Musician, like our Brian. didn't wanna be left out, so here's my (j.Zchivago's)solitary attempt to make an 'Ambient record as Thee Aethyr, on Year Zero Records.
What's a blog for if you can't plug your own records to an unforgiving public/


1. A Martyr's Prayer
2. I.G.Farben
3. An Exorcism
4. Event Horizon
5. Thee Last Days
6. Waiting For last Year
7. The Stockholm Syndrome
8. We Are Not Here
9. We Can remember It For You
10.Thee Eternal

DOWNLOAD from the aethyr HERE!

Thursday, 3 August 2017

Cluster & Eno ‎– "Cluster & Eno" (Sky Records ‎– sky 010) 1977

It wasn't until the eighties that I realised that Brian was Eno's christian name and not 'And'......of course I jest hahahaha! But the suffix ...'and Eno' was even popular in Germany it seems. All relevant acts were very keen to get an Eno collaboration going so this association with the former Glam Icon would raise their very very low profile on the world stage somewhat.
'Cluster' were another German act I couldn't find in the Euro Rock section of Revolver Records in Leicester......this was long before Leicester became the Kosmiche,Progressive music, Krautrock mecca of Britain, thanks to the Freeman Brothers now defunct, 'Ultima Thule' shop, and Audion Magazine.....all now decamped to an office somewhere doing mail order only.
If you wondered where Brian got his idea for his 'Ambient' series from, look no further than Cluster, and a bunch of similar Krautrock electronic minimalists from the early seventies.
Fittingly Eno gave their profile a boost by collaborating with them, and that's how I first heard of this very innovative and prolific duo of Moebius and Roedelius......peculiar names aren't they?
ENO's genius was to produce music like this just at the time when the public had a taste for violent and basic rock music.
Always the Oblique Strategist, this all seemed like stubbornly wading against the tide of popularism. However, there are a lot of similarities between this and the 'Punk' manifesto. For a start Eno couldn't really play any instruments, described himself as a 'Non-Musician', and frankly ,anyone could do this. This stuff launched an underground wave of ambient electronicists on the cassette underground, most famously on Colin Potter's ICR label.
Punk without the Funk and, thank your god, without the Punk as well.How more 'Punk' can one get? The answer is 'None....None more Punk.


Ho Renomo 5:10
Schöne Hände 3:00
Steinsame 4:20
Wehrmut 5:00
Mit Simaen 1:30
Selange 3:30
Die Bunge 3:50
One 6:00
Für Luise 3:50

Wednesday, 2 August 2017

CAN ‎– "The Lost Tapes (1968-75)" (Spoon Records ‎– CDSPOON55) 2012

Back in 1980, I'd heard a lot of persons in the music biz name dropping CAN, and how good "Tago Mago" was.So,impressionable young man that I was, I made my way to the 'European Rock' section of 'Revolver Records' in Leicester market place, opposite Lineker's Fruit and Veg stall; to seek out the aforementioned "Tago Mago"....of course it wasn't there....long deleted.Just a couple of late period albums,one of which was "Soon Over Babaluma"....I liked the cover so i stumped up the cash, and took it home eagerly.Played it, and it was a bit Shit!.....I didn't give up, as everyone said that Can were fucking brilliant, and found a copy of "Ege Bamyasi", which I now know to be better than "Tago Mago", and heard a well proper example of the art of drumming for the first time.The funky drummers of the Post-Punk period were a pretty clumsy bunch.Yes, Can were indeed 'Fucking Brilliant'!?
Now back to explaining where Eno nicked all his idea's from.....If for some weird and unexplainable reason you didn't know, Holger Czukay , he of ethnic tape fusion innovation fame via the 1969 album 'Canaxis'; was the bass player in this incredibly influential on the post punk bands pre-punk band.....namely, CAN.
They gave the world endless repetition, funky drumming Germans,and basically how to make a groove interesting. The influence on PiL and The Fall are obvious, and their echo is heard in many of those groups from 1978 onwards.
Basically,CAN relied greatly on Drummer Jaki Libezeit and to lesser extent on the two vocalists Malcolm Mooney and Damo Suzuki. Irmin Schmidt(keyboards) and Michael Karoli(weedy guitar) added the noodles to the dish, and frankly, like noodles, would not have been missed if they never turned up. Czukay was important only in his post-production work in the tape splicing room;....But Libezeit's busy metronomic but loose skin work could well be the best of all rock'n'roll time?
So everyone knows CAN's classic string of albums from the early seventies don't you? here's the stuff that never made it onto those records.All now rescued and tarted up for the CAN fan.
There's some great stuff on these three cd's, including the very impressive lyrics to "Waiting For The Streetcar", where Mooney manages to chant the song title 170 times!?...(don't worry, I didn't count 'em, but some other sado did!)
There are a few proto versions of Can classics, for instance - Vitamin C (Dead Pigeon Suite) and Mother Sky (On the Way To....), and some superior live stuff, and plenty of unreleased jams that escaped the razor blade of Czukay.Quality control had to be paramount back in the days of the forty minute LP.
I wouldn't say this was better than "Tago Mago" or "Ege Bamyasi", but its certainly better than "Future Days","Soundtracks" and "Monster Movie".....and pisses completely over anything after 1974 that they ever did!.....including the Suzuki and Mooney-less "Soon Over Babaluma"(1974).


Millionenspiel 5:49
Waiting For The Streetcar 10:08
Evening All Day 6:58
Deadly Doris 3:10
Graublau 16:47
When Darkness Comes 3:48
Blind Mirror Surf 8:39
Oscura Primavera 3:19
Bubble Rap 9:24
Your Friendly Neighbourhood Whore 3:43
True Story 4:30
The Agreement 0:37
Midnight Sky 2:44
Desert 3:20
Spoon - Live 16:47
Dead Pigeon Suite 11:47
Abra Cada Braxas 10:12
A Swan Is Born 3:00
The Loop 2:33
Godzilla Fragment 1:59
On The Way To Mother Sky 4:35
Midnight Men 7:35
Networks Of Foam 12:36
Messer, Scissors, Fork And Light 8:24
Barnacles 7:46
E.F.S. 108 2:07
Private Nocturnal 6:49
Alice 1:56
Mushroom - Live 8:18
One More Saturday Night - Live 6:34

Tuesday, 1 August 2017

Holger Czukay / Rolf Dammers ‎– "Canaxis" (Spoon Records ‎– SPOON 015 1969/1982

Eno was never one for passing over a chance to be 'inspired' by other artists work. Most of his 'innovations' were directly lifted from the German electronic underground of the early seventies.
One piece of work that stood out as an obvious influence for Eno's ethno-based collaborations was this early album from CAN's erstwhile bassist and tape editor, Holger Czukay, assisted by electronic composition chum Rolf Dammers.
The technique involves using chopped up field recordings of unknown traditional music and singing from the third world and asia.
Here's what it said on the cover of this re-issued version:

"A few month after the foundation of Can Holger Czukay recorded his first solo album Canaxis. The music has its origins in different parts of the world. It was arranged with the intuition of exploring and preserving the geniune character and beauty in an ambient context. Here for the first time Czukay explored the idea of 'sampling'."

Every octogenarian nowadays tries to claim to be the first one to have used 'sampling', which is crap.This was tape collage/splicing, as taught by Stockhausen to his students....including Czukay.
Hell there were shit-loads of novelty records in the fifties and sixties that used the same techniques long before Czukay, or even Stockhausen.Not forgetting the innovative work of the BBC Radiophonic Workshop.
'Sampling' was something completely different, involving a machine that could play any captured sound at different pitches, like the Mellotron did with tape loops...but that is never mentioned in the who did it first stand-offs.
No, Czukay didn't invent sampling, but he did get there first with the 'white man makes western Ethnic culture clash crossover collage' thing, that Eno nabbed for himself later on with the excellent 'My Life In The Bush Of Ghosts'.


1 Boat-Woman-Song 17:39
2 Canaxis 20:20
3 Mellow Out 2:12

David Byrne and Brian Eno ‎– "My Life In The Bush Of Ghosts" (EG ‎– EGLP 48) 1981

The most famous Eno collaboration was a less subtle Third World rip-off, with trendy(for 1980) Talking Head, David Byrne. Here he leaves the Herky Jerky college boy funk behind a tad, to indulge Eno in his misappropriation of Holger Czukay's ethnological forgery techniques from the late sixties.
Again he manages to avoid the patronizing qualities of most western 'world' music atrocities, and creates something rather reflective of the culture clash between the technological landfill site that is the so-called 'west' and the poverty stricken financial hostages of the third world.A bit like what Philip Glass and Godfrey Reggio achieved in the movie "Koyaanisquatsi" around the same time.....there was a lot of it about in the early eighties apparently!?
I don't like to use the word 'samples' before sampling, but this is a case of using 'Found Dialogue' rather than syncing in digital recreations of field recordings of Algerian muslims, lunatic preachers, and traditional african singing.
The track "Qu'Ran" was withdrawn from the cd version due to complaints guessed it.....muslims. Which is strange because its not normally very easy to offend a Muslim now is it? 
They only whip out the odd death threat every now and again, if someone writes a book,or accidentally samples an Islamic prayer and puts it on a pop record. Ahhhh, bless 'em.
But us here on Die or DIY? aren't so easily offended, and therefore it's back in, and all you fun lovin' muslims out there, get your women's faces out and lets move to some rich intellectual pop stars version of Ambient tribal funk music.
The record that launched a thousand Muslimgauze albums.


America Is Waiting 3:36
Mea Culpa 3:35
Regiment 3:56
Help Me Somebody 4:18
The Jezebel Spirit 4:55

Very,Very Hungry
Moonlight In Glory 4:19
The Carrier 3:30
A Secret Life 2:30
Come With Us 2:38
Mountain Of Needles 2:35
Qu'Ran 3:46 

Monday, 31 July 2017

Jon Hassell and Brian Eno ‎– "Fourth World Vol. 1 - Possible Musics" (Editions EG ‎– EGED 7) 1980

Around 1980 the horrible blight of white man mucking about with, and in most cases, just openly misappropriating African music began to float to the surface like scum on a millpond.
Lack of ideas lead to such affronts to the exploited people of the birthplace of the homo-sapien like Paul Simon stealing a whole album from Soweten musicians and paying them,basically, 'fuck all'.
Then we had Peter Gabriel doing the same in the name of political consciousness with 'Biko' and god knows what else in his dodgy eighties back catalogue.
In the 'Pop' world we got Bow Wow Wow and Adam Ant squabbling over who thought of using the Burundi beat backing to their hits first.
The middle classes were seen wearing African print at the WOMAD festivals,and began leaving Bhundu Boys albums openly on their coffee tables.
Personally, I can't stand all that Afro-beat stuff,and the entire 'World Music genre;most of which is just for white people to show how open minded and cosmopolitan they are.
Of course, with all dodgy directions in music there are always a few persons who get it right,....."and Eno" is,as always, one of them.
Ex-Lamonte Young collaborator, Jon Hassell, had developed a bizarre, heavily effected, breathy Trumpet style and an unhealthy interest in recreating landscapes through music......I blame his classical training. In classic Eno style, our Brian, spotted the potential, and as is his way, allied himself with a 'proper' musician to create something innovative and forward moving.
This was the first album I bought that had Eno on it, and was suitably impressed at the success this duo had in recreating something like an aural jungle in my bedroom.This stuff has a smell, like dense, humid, rain forest; and has a sense of danger,like wading through a tropical swamp,not knowing what horrendous creatures lurk below the slick of algae on the surface (maybe a poisonous dwarf like Paul Simon?).
A very rare attempt at merging the third and first worlds, without patronising,or exploiting, indigenous peoples.


Chemistry 6:48
Delta Rain Dream 3:22
Griot (Over "Contagious Magic") 4:00
Ba-benzélé 6:03
Rising Thermal 14° 16' N; 32° 28' E 3:34
Charm (Over "Burundi Cloud") 21:24

Sunday, 30 July 2017

Fripp & Eno ‎– "Live In Paris 28.05.1975"

Everyone's had an Eno collaboration haven't they?....except me!
The suffix,"...and Eno", has appeared many times ,stuck on the end of another experimental, or otherwise, musicians family name. Another common appearance of Eno's own family name , was as producer; where he committed his worst faux-pas's as the man behind the desk of some of U2's most offensive work. I guess that the money was good at least.
In contrast, some of "...& Eno's" greatest work was done with Mr Toyah Wilcox himself, Bobby Fripp. Sharing the oxygen with our Brian's manipulated tape-loop, electronics and delay mechanisms providing an ethereal ambient backing for Fripps heavily sustained guitar accompaniment.
Nowadays, we all have a little electronic box to do all this looping malarkey,so it's nothing special for granny and grandad to put together an experimental ambient album in their lunchtime; but back then, one had to use two chunky reel to reel tape recorders and yards of analogue tape streaming back and forth, a razor blade and some splicing tape. A bit cumbersome but quite effective.
Here we have three cd's documenting the duo's performance in Paris during the technically malfunctioning tour of 1975.Problems with the equipment beset our hero's frequently during this short trek around europe,including cancelled concerts, audience booing and walkouts,and general difficulty for the public to accept this as music. Nowadays this kind of set-up is normal, and goes to prove that if the public 'Boo' your work you are probably doing something right.....Fripp and Eno certainly were doing something very right.
One concert when it all went very very right,even if the audience didn't know it at the time, was on the 28th of may 1975 in Paris. Luckily this superb couple of hours of pure innovation was captured on tape and bootlegged. Here's the 'official' 3 CD bootleg version, complete with some of the backing loops faithfully recreated for you to do your own accompaniment to, and play at being Fripp and Eno for an evening.


1-1 Water On Water 10:46
1-2 A Radical Representative Of Pinsnip 9:39
1-3 Swastika Girls 7:44
1-4 Wind On Wind 2:00
1-5 Announcement 1:13
2-1 Wind On Water 9:44
2-2 A Near Find In Rip Pop 7:21
2-3 A Fearful Proper Din 4:12
2-4 A Darn Psi Inferno 4:59
2-5 Evening Star 5:59
2-6 An Iron Frappe 10:33
2-7 Softy Gun Poison 12:31
2-8 An Index Of Metals 7:20
3-1 Test Loop I 4:07
3-2 Test Loop II 0:47
3-3 Loop Only: A Radical Representative Of Pinsnip 10:39
3-4 Loop Only: Wind On Water 9:53
3-5 Loop Only: A Darn Psi Inferno 5:40
3-6 Loop Only: Softy Gun Poison 14:45
Bonus Tracks
3-7 Loop Only: Wind On Water Reversed 9:50
3-8 Later On (Single B Side) 4:56

Wednesday, 26 July 2017

The League Of Gentlemen - "The Greyhound,London 19-09-1980" (Bootleg)

An very good quality audience recording of a rather hot gig at The Fulham?
A very tight and cohesive unit The League of Gents were by this time in the year.
Theres some Fripp banter too, and some expert handling of a heckler in the audience.All good stuff.


01 Inductive Resonance 05:45
02 Trap 04:54
03 Heptaparaparshinokh 03:30
04 Thrang Thrang Gozinbulx II 03:11

        (Fripp Speaks)
05 Boy At Piano 04:04
06 Christian Children Marching, Singing 03:45
07 Dislocated 05:30
08 Thrang Thrang Gozinbulx III 03:30
09 Untitled
10 Minor Man 03:28
11 Farewell Johnny Brill 04:09
12 Eyes Needles 03:24
13 Inductive Resonance 05:01
14 Encore 1
15 Encore 2

Tuesday, 25 July 2017

The League Of Gentlemen ‎– "Thrang Thrang Gozinbulx (Official Bootleg Live in 1980)"

Recorded live at El Mocambo, Toronto, 17-18 June 1980, and Harpo's, Detroit, 10 July 1980, during The League's lengthy tour that comprised of virtually their entire existence as a band.
Fripp wanted to return to making music for people, specifically to 'Dance' to,and this was the result. A sped up version of 1980's King Crimson, with organ. It certainly gets some kind of foot tapping reaction at times, yet still retaining that artsy edge to raise it above being a wedding Disco band with pretensions. They definitely come under the label of 'Concept Band', in a twist from the classic prog rockers penchant for things conceptual, thee 'Concept Album'; which I assume the official album is.
The 'High-brow Guitarist plays in jobbing dance band' concept.They could have been XTC.


1 Inductive Resonance 5:15
2 Thrang Thrang Gozinbulx I 2:17
3 Trap 4:53
4 Boy At Piano 4:24
5 Heptaparaparshinokh 2:09
6 Thrang Thrang Gozinbulx II 3:20
7 Christian Children Marching, Singing 3:46
8 Ooh! Mr. Fripp 4:34
9 Dislocated 4:25
10 Minor Man 3:31
11 Thrang Thrang Gozinbulx III 3:38
12 Farewell Johnny Brill 3:58
13a Inductive Resonance 5:25
13b [Silent] 5:21
13c [Untitled] 0:49

Monday, 24 July 2017

The League Of Gentlemen ‎– "The League Of Gentlemen" (Editions EG ‎– EGED 9) 1981

All ex-prog rockers loved XTC, so if you wanted to do some post-punky thing for the kids you had to have an ex-XTC member in your new dance group, hadn't you?
XTC were never the same for me after Barry Andrews's steam organ and stripped down upright piano left the line-up after "GO 2"....and where did he go too (see what I did?)?......Robert Fripp's new mutant Disco inspired dance combo, "The League Of Gentlemen".
Understandably they sound not unlike a combination of XTC and discipline-era King Crimson, with some inspired contributions from Danielle Dax as the cherry on this particular cake.
They did a massive tour,following on from Fripp's massive Frippertronic's tour from the previous years. One has to admire Robert's work ethic.A musician,although he didn't see himself as one, who actually works hard to earn his money.This is all in tandem with his revinvented version of King Crimson,which was also happening at the same time.
You get sick of hearing Pop Stars moaning about illegal downloads costing them money.Why don't they take a leaf out of Fripp'sbook and actually work for a living like everyone else has to.It's the modern era, the recording some crap tunes then sitting back watching the cash roll in has died due to market forces,move with the times, shut up, and play live.


A1 Indiscreet I 1:47
A2 Inductive Resonance 4:35
A3 Minor Man 3:45
A4 Heptaparaparshinokh 2:03
A5 Dislocated 4:35
A6 Pareto Optimum I 2:07
A7 Eye Needles 3:12
A8 Indiscreet II 2:35
B1 Pareto Optimum II 1:27
B2 Cognitive Dissonance 3:38
B3 H.G. Wells 3:25
B4 Trap 4:45
B5 Ochre 3:07
B6 Indiscreet III 1:26

Sunday, 23 July 2017

Robert Fripp - "Frippertronics @KSAN-FM, San Francisco, 28th July 1979" (Bootleg)

As a Frippertronics recording you can't get much better. This came from a visit Fripp made to KSAN FM radio in 'Frisco,the day after his Tower Records appearance in Hollywood, and recorded these four tracks for the Phil Charles Show later in the night.
The context for these performances is slightly different, as they were intended for broadcast, probably only once, and not part of a live performance with an audience. He often spoke of the 'Vampiric' relationship between audience and performer.Something which is altered drastically on record and on radio.These tracks fall somewhere between live and studio,and musically are some of the best recorded versions of Frippertronics I've heard.It's just missing Roberts between track banter.


01 Music For Streets 4:49 
02 Music For Wrong Ways 4:46 
03 Music For Madams 13:01 
04 Music For Backward Ladies 8:11 

DOWNLOAD fripp in the home of hippie HERE!

Saturday, 22 July 2017

Robert Fripp - "Frippertronics at Tower Records,Hollywood 27-07-1979" (Bootleg) 1979

This is a high quality audience recording from Robert Fripp's "Small, Mobile, Intelligent Unit" Frippertronics tour at Tower Records, Hollywood, on July 27th 1979. Despite him specifically asking the audience not to record any of the music.
I do like the idea of something happening just once, then left to disappear and mutate in the memories of the persons present at the time.To eventually die altogether with the ultimate demise of the beholder. Some things should never be repeated or reanimated, and allowed to live their natural lifespan; like improvised music.Which is designed for a specific time and place and should be remembered as a total experience that lived briefly and died,like a sickly child. To reproduce it on a tape and play it back in your living room out of the context in which it was made,changes it completely.
So having said that, here's your chance to change the context and experience some classic Frippertronics in your own living room.Much to the disgust of Mr Fripp,who has successfully clamped down on any being easily available on the net or anywhere else for that grab it while you can.
If you don't know what "Frippertronics" is, uncle Bob himself will explain it for you on track 2,interlaced with his mannered dry wit.


02-What is Frippertronics?
03-Frippertronics 1
04-Frippertronics 2
05-Frippertronics 3
06-Frippertronics 4
07-Buy my record

DOWNLOAD bob in hollywood HERE!

Friday, 21 July 2017

Robert Fripp ‎– "Let The Power Fall" (Editions EG ‎– EGED 10) 1981

Fripp, as he referred to the touring version of himself,a 'small compact unit', treating us to a album of Frippertronics; which,if you didn't know, is Bobby improvising with tape loops of himself, through various delay units and effects.
The effect is very hallucinogenic,and meditative. The studio version of this music lacks a little bit of the immediacy that cold be generated on the many live appearances he made in cafe's and shopping malls all over the western world on the cusp of the eighties. He dressed like a business man and certainly saw himself more as a business man than a musician,and wasn't afraid of a lot of actual hard work.Something that frightens the living shite out of a self-titled musician.Refreshingly, our Robert,always made it clear that he wasn't a natural, and created his style(s) through sheer endeavor, rather than the Jimi Hendrix route.The result is a thoughtful, considered style, full of technical exactitude.Something reflected in his manner and self-presentation.An admirable anti-rock stance that was invigorated by the onset of the so-called 'Punk Explosion'.He stood apart, but ultimately fitted in. 
The end of his so-called 'Drive to 1981' concept, and the start of 'The Decline to 1984' period.   
Fellow outsider,Lemon Kitten Danielle Dax provided the artwork by the way....certainly a step up in collaboration class from Darryl Hall.

1984 12:09
1985 11:20
1986 5:21
1987 5:14
1988 6:33
1989 11:32

Thursday, 20 July 2017

Robert Fripp ‎– "God Save The Queen / Under Heavy Manners" (EG ‎– EGLP 105) 1980

The more experimental follow up to "Exposure" was this Frippertronics heavy tribute to 'Our' Queen, with much of the work being performed by improvisation.
On the Under Heavy Manners side of the album, the effect was modified in what Fripp described as "Discotronics", adding a solid drum beat, a bit like those 'Hooked On Classics' records, and a funky bass line to create a dancier sound.Obviously influenced by that Mutant Disco stuff from the clubs of New York,where he was living at the time.David Byrne guests on urban ethnic vocals,straight from the 'Mudd Club'.
"God Save the Queen" itself bears little resemblance to the British national anthem, although it is based on the opening notes of that tune. It was inspired by a comment from an audience member at a Frippertronics gig, who suggested that, as the performance was taking place on the tenth anniversary of the Woodstock Festival in August 1979, Fripp should reprise Jimi Hendrix's performance of "The Star Spangled Banner".I would love this to be the new anti-anthem for the English at the commonwealth games and other such events; completely lacking in Jingoism and rousing knuckleheadedness. It more than adequately portrays my own personal emotional connection to my motherland, which i have recently fell out of love with.Don't worry it's just a lovers tiff,i'm sure it'll all work out in the end when all the bigoted loony tunes go back into their bunkers after this new wave of populist politics reveals itself to be a disaster.
In the meantime we can listen to the stuff that made that sceptered Isle full of noises the culturally great place we all knew, instead of a book burning hinterland land for dumb bigots.....excuse me for a moment while I snarl....WANKERS!.....better out than in i suppose....that's anger not a reference to the EU, if there's any thick Brexshitters reading this?....which I very much doubt.Don't think yer average bigot has even heard of 'Art' never mind Fripp, or even left the country beyond the Costa del Scunthorpe. Soon, if Fripp and Eno want to go and play another gig in Paris, they'll need a visa and a work permit.Ah, the Freedom of it all?


God Save The Queen:
A1 Red Two Scorer 6:54
A2 God Save The Queen 9:50
A3 1983 13:20

Under Heavy Manners:
B1 Under Heavy Manners 5:14
B2 The Zero Of The Signified 12:38

Wednesday, 19 July 2017

Robert Fripp ‎– "Exposure" (EG ‎– EGLP 101) 1979

Back to the theme of the Prog influence/infiltration on Post Punk. Who better to start with than thee arch-prog experimentalist on the six string,Robert Fripp.
As a teenager, brought up on glam,a bit of prog and the new wave, I always wondered who this smart looking gentleman was who was always pictured in the music press. One was very impressed at how out of place he looked, like a stockbroker who'd accidentally stumbled into a music store. He was often seen with Eno, who used to be in Roxy Music,so one knew who he was, therefore the conclusion of that was that this Fripp chap couldn't be all bad. I had heard of King Crimson,but didn't know he was in them, so hearing this unusual take on rock music was a revelation to someone who thought The Ruts were a bit too good on their instruments for their own good.
Fripp,was and still is, my favourite Guitarist, and the most 'white' by far.You won't find Fripp relying on Blues licks to flesh out a tune.Unusual time signatures, and fractured riffs, coupled with some ambient sustain driven Frippertronics, make his style hard to pin down for more than five minutes.And the fact that he insists on playing while sitting on a stool,scores the highest anti-rock points currently available.
This album is a kind of Prog super group album, with that other great forward moving dark-progger Peter Hammill of Van Der Graff Generator contributing some vocals and lyrics, and various Genesis chums Phil Collins and Peter Gabriel contributing the stuff they do best.
There is but one faux-pas included here.....Darryl Hall!!!!..but we can overlook that can't we?
Of all the progressive rock bands,it was probably these luminaries who absorbed the Punk message the best,and produced something new from it,in sync with the rest of the Post Punk/prog brigade.
This era of Fripp,also produced one of the great images of all time, up there with Doctor Feelgood, and the Magic Band.

A1 Preface 1:15
A2 You Burn Me Up I'm A Cigarette 2:23
A3 Breathless 4:41
A4 Disengage 2:46
A5 North Star 3:06
A6 Chicago 2:12
A7 NY3 2:16
A8 Mary 2:06
B1 Exposure 4:25
B2 Häaden Two 2:53
B3 Urban Landscape 2:35
B4 I May Not Have Had Enough Of Me But I've Had Enough Of You 3:50
B5 First Inaugural Address To The I.A.C.E. Sherborne House 0:03
B6 Water Music I 1:27
B7 Here Comes The Flood 4:01
B8 Water Music II 4:16
B9 Postscript 0:39

Bonus Track:

18 Exposure (Alt Take)
19 Mary (Alt Take)
20 Disengage (Alt Take)
21 Chicago (Alt Take)
22 NY3 (Alt Take)

Monday, 17 July 2017

Section 25 - "Illuminous Illuminae" (Relevant Music) 1982

Section 25 were probably one of the most successfully inept musicians since Neu to be taken half-seriously.As the only interesting group to come out of Blackpool who were named after a section of the mental health act;they made a strain of northern English Blackpool Krautrock. Another source of inspiration from the Prog era that infected the Post-Punk scene.
This cassette of demo's, jam's,and live bits, reminds one of second album Section 25, "The Key Of Dreams"; which was about as psychedelic as  Factory ever got with its sparse rudimentary guitar solo driven jams.Allegedly, that album was edited down to forty minutes from five hours of jam sessions.....must have been a job and a half finding something half good from that lot......this is of course, How funky krauts'Can' made their albums; the difference was, 'Can' had four very competent musicians to knock out some famous repetitive grooves, and Section 25's drummer was certainly no Jaki Liebezeit (RIP).....but shockingly, I think I prefer Section 25 to least until they (S25) went 'disco'. Some would even label them as Acid House before Acid House?...which is pushing it a bit I think!?


1–New Horizons Intro (Demo 1981)2:48
2–Are You There? (SSRU Demo 1981)2:09
3–Floating (SSRU Demo 1981)4:26
4–There Was A Time (SSRU Demo 1981)5:26
5–Rigi Rigi (Demo 2.1981)5:47
6–Mirror (London Lyceum 29.2.1980)2:57
7–You're On Your Own (Den Haag 1.11.1980)4:12
8–Friendly Fires (Den Haag 1.11.1980)3:56
9–One Step (Nottingham Rock City 18.4.1981)6:23
10–Opening (London The Venue 6.5.1982)8:47
11–Virtually Every (SSRU Demo 1981)3:28
12–Fallen (SSRU Demo 1981)1:12
13–Tape Loop (SSRU Demo 1981)3:33
14–Cry (SSRU Demo 1981)3:54
15-Subferior (SSRU Demo 1981)3:36
16–In The Garden Of Eden (SSRU Demo 1981)1:58
17–Never Mind The Sex Pistols Here's The Bollocks (Poulton Old Library 29.12.1978)1:26
18–Just To See Your Face (Blackpool Mardi Gras 7.1979)6:36