Officially, my website was in “maintenance mode”. To make a long story short, after eight years, I decided to find a new place to host the website, which coincided with the renewal of the domain. Finding a new place to host was the easy part, transferring the files was another story. Moving the files was easy but in the background, there needed to be a bit of “reconfiguring”. Nonethelesss, you are reading this, and that means the website is up and running. In the words of Chip Monck from Woodstock, “after a short intermission, we’ll continue.”
A festival of noise can and will be achieved in this new 3-track EP by To The Lovers, Farewell. It’s a new release on Red Venice Records called Slice Up Not Across, and this one is just nothing but feedback twisted in different ways.
There goes Captain Supernova, but is he a pushover? No, but he has a nw song to share with you, his theme song if you will, and it’s appropriately called “Captain’s Theme”. The song will find its way on his forthcoming EP coming out in December called Visions Of The Unknown, and now it’s your time to see, hear, and know what is not known.
Released today is the new album by The History Of Apple Pie called Feel Something (Marshall Teller) and if you want to feel something, or feel something more, check out the video they made for “Jamais Vu”, the audio of which was posted here a month ago.
ill Clinton of Florida (not to be confused with Ill Clinton of Philadelphia) has collaborated with Georgia Anne Muldrow and Moses West in a new song called “A Brother Like Ezell”, which rocks well. While the song is available as a free download, any money used to purchase the song will go towards the Dream Defenders charity, click the Bandcamp page for the song for more information.
With a new album called Juice that just went to #1 on Billboard’s Jazz Album Chart and a tour set up in December, you’d think John Medeski, Billy Martin, Chris Wood, and John Scofield would just ease up and relax. Then again, if you know how MMW work and how Scofield energizes the trio even more, relaxation is not an option. They’ve made a video for one of the songs on the album, and maybe there will be more in the future. For now, watch “Juicy Lucy” and see how juiced up she gets. Or they get, you don’t know what kind of video it could be.
In Response: Dee-Fi is a compilation put together by Rediculus that scratches the service of what he’s about. If you’ve seen his name before or you heard one or two of his cuts, you will be able to hear a 15-song collection that will let you know what he is about. At least in part. A video has been made for the song “Mad As Hell” and even if he is, he’s having fun at the same time.
In late 2013, Audio Fidelity announced they would be doing an audiophile remaster of the Scorpions’ 1982 hit album, Blackout, to be released in early 2014. Soon after, they stated it would be delayed and it turned into “sometime in 2014″. Unless there are further delays and/or changes, the Kevin Gray-remaster now has an official release date: November 4th.
Just announced from Audio Fidelity is a remaster of a best selling Eric Clapton “greatest hits” album of sorts, Timepieces. The 1980 compilation combined various eras of Clapton’s music post-Cream and post-Blind Faith, representing the period between 1970-1980. That covers a lot of ground, including the material he did with Derek And The Dominoes and his solo material, which includes such hits as “I Shot The Sheriff”, “Lay Down Sally”, “After Midnight”, and “Cocaine”. While Audio Fidelity has covered Clapton’s 80’s and 90’s material for Warner Bros., for some this is considered some of Clapton’s best music in his career. This one will also be released on the 4th of November.
Both discs are hybrid SACD’s, which means they’re playable on SACD players along with regular standard compact disc players.
British band Devilment will be releasing a new album in November called The Great & Secret Show (Nuclear Blast) and from it is a piece of the puzzle to come, a track called “Even Your Blood Group Rejects Me”. It’s a bit like a cross between the best elements of Marilyn Manson and Korn, but it goes beyond that. The video was directed by Sam Scott-Hunter for your convenience.
The press release calls her a “global pop icon” but I wonder if she is truly global in every single country. Nonetheless, you know who Fergie is, and she is back with a new song called “L.A. Love (La La)”, and she hopes that you will la-la-la along to it too. The song was produced by DJ Mustard, so if that turns you on, you’ll want to listen.
(First off, apologies for not having an installment of Book’s Jook last week. Sometimes I’m doing a lot of writing for the site that at times I will space off, but that’s rare. Last week, I was doing a website transfer and that was a hassle I had to deal with, so I can at least use that as an excuse. Nonetheless, the column returns.)
Technically, this is a record that isn’t necessary to place in my dream jukebox, which may lead some to ask “so why are you putting it in there?” I guess for me, “Beat Box” is such an essential part of my life that it really isn’t a must, but then again, it is that essential to me. A perfect (im)balance) for a perfect song? In fact, the song was originally co-published by Perfect Songs Ltd., so I know what I’m talking about, right? Anyway…
I had already been a fan of “Beat Box” for almost a year before I got this 45. I had the Into Battle cassette in Honolulu, which I had to have after hearing the song for the video on MTV. I watched and was mesmerized. No, I was pretty much numb in “uh bubba duh?” mode, not sure what I was listening to but knowing this was a revolution that was to come. In my mind, this was a sound (or a type of sound) I wanted to hear in music, and a good amount of pop and synth pop were close to what I heard in “Beat Box”. I had been a huge fan of Kraftwerk’s Computer World album but this seemed higher than that. It went beyond the groove of what those Germans were doing, and yet I could not understand what I was really listening to. The music of Jonathan Jeczalik, Anne Dudley, and Gary Langan, the production of Trevor Horn, and the verbal texts of Paul Morley would soon become an important part of not only my musical listening, but an influence to the music I wanted to produce, even though in 1983-1984 I didn’t have the means to get into a recording studio nor have the tools to make anything similar. Importantly, it was Morley’s liner notes on Art Of Noise’s and other Zang Tuum Tumb (ZTT) records that made a huge impression on me towards what to write and the rules that were meant to be broken.
Nonetheless, the “Beat Box” 45. I had received this from a neighborhood kid, in the neighborhood I had just moved in after my family and I departed from Honolulu. He was the kid who loved rap music and was a breakdancer and popper. Back then, it was a chance to know what music we listened to, and I had found out from another neighbor that the breakdancing kid had “Beat Box”. Even as a new resident of the neighborhood, my new friends had known I was a fan of Art Of Noise, so I wanted to see this record. White label with a partial black circle on the left side, fair and simple. The 45 had an edit that was used in the video, so you don’t hear the car ignition in the second half of the song, but what is heard is still awesome genius.
What was a trip for me was flipping the record over and hearing “Moment In Love”, where Horn simply went to the multi-track, created an all new mix of the song, made adjustments to the arrangement and it allowed fans to hear the sampled strings and vocals in an all new way. The drums were slightly different too. I hadn’t heard “Moment In Love” on my cassette as Island Records removed it from the tape pressings, but existed on the record. It was on both the vinyl and cassette pressings in UK, so that was a nice joy.
Having “Beat Box” on a 45 where the song quality is slightly grittier is nice, for having it played out of a booming jukebox would be quite cool. I would end up playing the 45 until the record turned to dust.