Wednesday, 16 May 2018

Kid Congo & The Pink Monkey Birds - The Old Bar Fitzroy Melbourne (15/5/18)

I did unfortunately miss the first two songs

Monday, 14 May 2018

50 Years of Beauty In The Streets (May '68 Revisited)

It’s 50 years on from 1968 - a year that saw demonstrations and revolutions around the world, the beginnings of anti-war and civil rights movements in the US and the shocking assassinations of Martin Luther King and Robert Kennedy. It also saw the start of the Nixon Administration, a successful orbit of the moon and the dawn of the television age that brought the world into living rooms.
Australian ABC's Radio National has been exploring what it was about 1968 and how it changed the way we think about culture, identity and politics today

May 1968: The strike that changed the world
1968: A fractured America (Info/Download)
How the spirit of May '68 inspired filmmakers like Godard and Truffaut (Info/Download)
Lessons from past resistance movements (Info/Download)
My '68 (Info/Download)
What led to the student protests of 1968? (Info/Download)
The Music of 1968: Part I/2
Ready for revolution - the psychology of protest (Info/Download)
Activism and 1968 (Info/Download)
Activism that’s less aggressive and far more persuasive and persistent (Info/Download)
May 1968 Revisited (Info/Download)
& finally
Beauty Is In The Street (Info/Download)
...and can I just say if you don't have a copy of Beauty Is in the Street: A Visual Record of the May 68 Uprising, edited by Johan Kugelberg and Philippe Vermés then do yourself a favour and beg, borrow, buy or steal a copy today

Saturday, 31 March 2018

Some thoughts on how to feel good by Thor Harris

Thursday, 15 March 2018

Adrian Sherwood - Live John Curtin Hotel Melbourne (14/3/18)


Wednesday, 14 March 2018

Adrian Sherwood - Live 3RRR Melbourne (13/3/18)

A nice wee appetiser for tonight's gig at The Curtin. A fifteen minute chat followed by a 45 minute set featuring tunes from the forthcoming Lee Perry and Horace Andy albums on On-U Sound amongst others. 
Listen back HERE (starts at 59:00)
Alternatively grab my recording from the live performance NOT from the radio broadcast

Monday, 26 February 2018

Vintage drum kits from the 1920s and 1930s


Thursday, 22 February 2018

It’s Time to End ‘Trending’

Augie March - When I Am Old

Only filmed here at Exile Towers a couple of weeks ago featuring long time resident Uncle Jack

'I had a brother'

Wednesday, 21 February 2018

A familiar face from 1978

Was just re-watching the Clash film Rude Boy the other day for the first time in maybe 20 years and this familiar face popped into view

Kodwo Eshun: Mark Fisher Memorial Lecture

Kodwo Eshun delivering the inaugural Mark Fisher Memorial Lecture at Goldsmiths, University of London. 19th January 2018

Thursday, 8 February 2018

John Perry Barlow R.I.P.

Principles of Adult Behavior

Be  patient. No matter what.
Don’t badmouth: Assign responsibility, not blame. Say nothing of another you wouldn’t say to him in the same language and tone of voice.
Never assume the motives of others are, to them, less noble than yours are to you.
Expand your sense of the possible.
Don’t trouble yourself with matters you truly cannot change.
Expect no more of anyone than you can deliver yourself.
Tolerate ambiguity.
Laugh at yourself frequently.
Concern yourself with what is right rather than who is right.
Never forget that, no matter how certain, you might be wrong.
Give up blood sports.
Remember that your life belongs to others as well. Don’t risk it frivolously.
Never lie to anyone for any reason. (Lies of omission are sometimes exempt.)
Learn the needs of those around you and respect them.
Avoid the pursuit of happiness. Seek to define your mission and pursue that.
Reduce your use of the first personal pronoun.
Praise at least as often as you disparage.
Admit your errors freely and soon.
Become less suspicious of joy.
Understand humility.
Remember that love forgives everything.
Foster dignity.
Live memorably.
Love yourself.

(Written in 1977 on the eve of his turning thirty)
Pictured above with Bob Weir

A Declaration of the Independence of Cyberspace
Nothing to tell now/ let the words be yours/ I am done with mine.

Thursday, 1 February 2018

Aht Uh Mi Hed Mix

01 Terry Callier - Live With Me
02 Banbarra - Shack Up
03 Tim Buckley - Get On Top
04 Syl Johnson - Is It Because I'm Black (Instrumental)
05 Bernie Worrell - Rentstrike (DJ Smash Remix)
06 Herbie Hancock - Hang Up Your Hangups
07 Jimi Tenor & Tony Allen - Selfish Gene
08 Shuggie Otis - Aht Uh Mi Hed
09 Lady Margo - This Is My Prayer
10 Chairmen Of The Board - Give Me Just A Little More Time
11 Dr John - Right Place, Wrong Time
12 Flora Purim - What You See
13 Cher - Walk On Gilded Splinters
14 Esther Phillips - Home Is Wher The Hatred Is
15 Opals - You Can't Hurt Me No More
16 The Staple Singers - You've Got To Earn It
17 Betty Wright - Clean Up Woman
18 Betty Davis - Your Mama Wants Ya Back
19 Chris Clark - I Want To Go Back There Again
20 The Jackson 5 - I Want You Back
21 Curtis Mayfield - Now You're Gone
22 Hall & Oates - She's Gone
23 The Temptations - Ain't No Sunshine

Love lost & found
It's been a while...

Tuesday, 23 January 2018

Help save Bill Laswell's Orange Music Studio

In an era where music, among other creative endeavours, has been devalued as mere “content,” freely accessed through the new digital medium, the very survival of those who create music and art and culture has been threatened. Bassist, iconic producer, and sonic visionary Bill Laswell becomes the latest legendary talent to fall victim to the vagaries of these crazy times. Beset by health problems while trying to navigate this harsh and uncertain economic landscape, Laswell is struggling to maintain Orange Music, the legendary New Jersey studio that he as helmed for the last 20 years. He is putting the call out to all fans, friends, and fellow artists alike: If you can help, please do so now. No contribution is too small.
As an artist and producer, Bill Laswell really needs no introduction. Though he has operated largely out of view of the pop charts, he has managed to collaborate with the giants in practically every genre of music—from Miles Davis to Mick Jagger to Bob Marley to name but a few. At the peak of his commercial success, he even produced the Grammy-award winning hit “Rock It” for Herbie Hancock in 1983, one of the first songs that helped hip-hop crossover to the mainstream. At this point, he could have moved to L.A. and cashed in, but he chose to stay in New York and later, New Jersey, and keep it real. In doing so, he displayed his very real commitment to the underground.
Orange Music, the studio Bill moved to in 1998 after getting priced out of rapidly-gentrifying Greenpoint, Brooklyn, has a storied history of its own. Supposedly built in the late 60s for Franki Valli and the Four Seasons, it was originally called Vantone Studio. In the 70s, groups like Jethro Tull, Humble Pie, Brooklyn Bridge, and Carole King recorded there. In the 80s, the studio was renamed Grand Slam Studios and hosted such luminaries as Aerosmith and George Benson. When Laswell took over the studio, he brought with him his international cast of colourful characters, producing such artists as Tabla Beat Science, Sly & Robbie, Matisyahu, Bernie Worrell, and the inimitable Lee “Scratch” Perry. As a maverick in his field, he has always supported other independent artists, who, like himself, are striving for something further, deeper, and true. That’s why he allows other artists and independent labels to use the studio at reduced rates. So many stand to lose if Bill cannot hold onto Orange Music.
Bill’s entire career is a powerful statement of art over commerce. Money has never been an issue, but Bill now needs your help.
PayPal account for Bill Laswell:

More info & Rewards

Friday, 5 January 2018

The Clash - New Year's Day '77

Built around the earliest, until now unseen, footage of The Clash in concert, filmed by Julien Temple as they opened the infamous Roxy club in a dilapidated Covent Garden on 1 January 1977, this show takes us on a time-travelling trip back to that strange planet that was Great Britain in the late 1970s and the moment when punk emerged into the mainstream consciousness.
Featuring the voices of Joe Strummer and The Clash from the time, and intercutting the raw and visceral footage of this iconic show with telling moments from the BBC's New Year's Eve, Hogmanay and New Year's Day schedules of nearly 40 years ago, it celebrates that great enduring British custom of getting together, en masse and often substantially the worse for wear, to usher in the new year.
New Year's Day is when we collectively take the time to reflect on the year that has just gone by and ponder what the new one might hold in store for us. Unknown to the unsuspecting British public, 1977 was of course the annus mirabilis of punk. The year in which The Clash themselves took off, catching the imagination of the nation's youth. As their iconic song 1977 counts us down to midnight, we share with them and Joe Strummer, in previously unseen interviews from the time, their hopes and predictions for the 12 months ahead.

Thursday, 4 January 2018

David Asher: On-U Sunday Roast (December 17/January 18)

Monday, 1 January 2018

Normal service from Exile Towers ASAP


Wednesday, 6 December 2017

Neil Young - Acoustic Live @Omemee, Ontario Canada 1/12/17 (Audio rip from now deleted YT vid Thanks Stan)

Video was taken down because of a copyright request from Warner Brothers!!!

Saturday, 2 December 2017

Paul Kelly - Life Is Fine / Dumb Things (Live At The 2017 ARIAS)

Paul Kelly performs Life Is Fine/Dumb Things with A.B. Original, Dan Sultan and Short Black Opera

Drive-By Truckers - The Perilous Night

'A song about the fucking assholes'

Friday, 1 December 2017

Grateful Dead - 30 Days of Dead (2017)

Image and video hosting by TinyPic

Trump VS Talking Heads


David Asher: On-U Sound Sunday Roast (November 2017)

Sunday, 15 October 2017

Bonnie Prince Billy - Treasure Map

Written for the feature documentary 'The Lure'

Thee Conductor (ft Bonnie Prince Billy) - Face Crinkle

Nothing To Hide Mix

Rainforest Spiritual Enslavement - Nocturnal Anatomy
Nurse With Wound - Mothering Tongue
Moor Mother - Valley of Dry Bones
Sevdaliza - Hero
Kikuri - That Place Into Which You Fell Was Lined With A Cushion of Pain And Is No Proof of Your Continuing Existence
Jah Wobble - Just Me And Phil
Kelela - Hallucinogen
Hospital Ships - Nothing To Hide
Lone Taxidermist - Dribble Wizard
L.A.N.D. - Nothing Is Happening Everywhere
Kaitlyn Aurelia Smith - Existence In The Unfurling
KiKu & Blixa Bargeld & Black Cracker - Like This
Burial - Rodent (Kode9 Remix)

Wednesday, 11 October 2017

Eminem VS Trump

John Cipollina's rig with Quicksilver Messenger Service

Saturday, 7 October 2017

The Icarus Line/Holy War's Joe Cardamone's heartbreaking read on the death of Alvin DeGuzman (1978 - 2017)

My closest friend and musical partner died last night. He had been sick with cancer for the past few years but in the last six weeks the illness really took its toll. I tried to visit him as much as possible in this time because I didn't want him to feel alone. When we are up against the ropes alone is the default way to feel. Especially in illness, no one else can feel from your perspective no matter how bad they might want to take your place. Alvin and I first met on a little league baseball team in 3rd grade. We didn't talk a whole lot; I didn't really know how to make friends back then. A year later we ended up at the same grade school. I was unceremoniously removed from my previous institution of lower learning and ended up at the same Catholic that he went to. Again, I didn't really take to people very quickly so I was kinda on my own. At some point we got randomly grouped to do a paper mache' puppet show project and that was where it all started. He made an alien puppet and I made a mini Axl Rose. We had to write and perform a story about Axl being abducted by an extraterrestrial. I'm pretty sure we had the room going during our performance. The next year I told Alvin I had bought a guitar and that I was going to start a band, 5th grade I think. I remember he looked at me and said "why?". I knew he liked to draw so I employed him to do an album cover of my yet to be created first album. Shit I couldn't even hold a chord yet. Two weeks later I asked him "hows it going with that cover drawing?" and he told me he wasn't going to do it. He did however buy a bass and had learned a bunch of Led Zeppelin songs. I knew the guy was sharp as a tack but in two weeks? Ok, yeah of course Alvin. We got to jam at his folks house because his mom worked nights and no one could tell if his dad was around. I remember seeing him play for the first time and wondering how the fuck he learned songs I could only day dream of reciting. This was one month in to his career as a musician. It was on. From there on out we were inseparable, a unit designed to figure out how to hit a target that seemed a million lightyears away from our realities. Where we came from no one's parents were in the music industry. No one had a direct connection to getting up on a stage, forget even trying to record in a studio. We grew up in LA but not the LA that held inroads for sons and daughters of the connected. East Los Angeles might as well be a million miles from Hollywood. That didn't stop us none though, for all we knew everyone had to start from zero. It was a dream and for us that's all we needed to be something other than what we were constantly told we were. The rest of it you could read about somewhere else. We slowly saved, sacrificed and scraped our way out of East LA on to stages. Our parents had meetings about us because they were worried about how serious we took this music shit. We fell in love with records and we fell in love with art. We became men together. It was never easy for us. There was not a day off. A lot of people came and went but no matter what I knew Alvin had my back. He had my back even when I didn't. He had my back when the entire world had turned theirs on me. He never wavered. Playing music with someone for 20 years, fuck, 1 month, creates a bond that nothing quite else can generate. You become the survivors of the mission. Like POW's. Especially the conditions we had been subjected to over the years. I think it might be hard to explain and for others to relate. Its not just that you slept on a gas station parking lot floor together. Its that you all did it willingly with smiles on your faces. When Alvin went to jail for copping to someone else's dope and the van had been taken back by the rental company, Alvin rode in the blackness of a U-Haul box truck with me back to Cali in the dead Texas heat. That happened more than once. Nothing was ever going to stop this train. My group had always been vetted in cruel and unusual ways, new people had to slowly be broken in because everyone else (members) had been in the shit together. Suffered together. Beat the slim odds together. I can say with no degree of uncertainty that without Alvin, I would not have had the strength to press forward for so long. The new guy, no matter where he came from, whatever band, was applesauce compared to the pack of criminals that I ran with. Alvin being the saint, the moral compass, the exception. Success didn't make a scratch of difference to him. When we had it all in front of 15k people at Reading Festival or when we had nothing a week later at bar to no one in Arizona. Doing music was the same to him, fuck the circumstances. For 20 years Alvin turned up, played and knew my songs better than I did. On more than one night, I saw the smallest guy in a tribe of small warriors pack the van entirely by himself. I would be out of breath on the curb next to him, he didn't phase. Alvin slept on the dirty motel floor for 20 years so that I could sleep in a dirty motel bed. For years he taught the band to play my music. It's completely impossible overstate what kind of sacrifice that is. There was no money involved, there was very little in the way of recognition, it was just what he did with his life. Alvin was a musician capable of playing at any station in the group (he played guitar both left and right handed, bass and keys). He manned all these stations according to who had left the band for greener or more vanilla pastures. It was his music too and he understood that. I have spent my entire life writing about those close to me and he knew that we were telling the stories of our friends. He knew exactly why it was important and never questioned its nobility. Alvin showed up. Always. If I was getting thrown out of my house because of some messy split; I knew he was on his way over so that I could throw whatever belongings that were still intact in the back of his car. He got me the fuck out of dodge so many times it's obscene. His character as a human was unparalleled. His moral compass didn't waver, which wasn't always easy around a bunch of nihilistic thugs who'd just as soon burn the venue to the ground as do a soundcheck. If someone would get hurt Alvin was out. That was the only time he would ever back away, if it was going to seriously be at someone else's expense. He kept me from going over the edge. I know he did that for other people too. Once you learned to speak Alvin's language you could count on an honest point of view. As long as you were smart enough to decode what the guy was saying to you. Even though he was shy and quiet those who took the minimal effort to get to know him understood what this dude was about. He was all love, even when he was being a hater it was out of love. In the end he didn't ever talk about how sick he was. There were no updates on his condition. Only third hand info that we obtained however we could. He didn't want to talk about it. Not because he was scared to but because he didn't want us to carry that shit with us all day. Like usual he was gonna carry this one, the last one. Less than two days ago I held his hand and told him he could go, I know he was looking at me for permission even though he didn't need it. It's fucked up how life works, the strange Asian kid I met in class making paper mache puppets became my life long protector. Girls, managers, members, friends, enemies...they all come and go. Alvin never went anywhere. He was ride or die every day, all day. Before I met Alvin I never really had a best friend or really even knew that existed and after I met him I was never alone again. With tears in my eyes I say goodbye to my friend, I love you homie, I hope we meet again.

Friday, 8 September 2017

Gute Nacht Herr Czukay 2 Mix

Late Night Radio
Boat Woman Song (Technical Space Composer's Crew with Rolf Dammers)
Premonition (Giant Empty Iron Vessel) (with David Sylvian)
On The Way To The Peak of Normal
Animal Waves (with CAN)
My Can-Axis

Gute Nacht Herr Czukay Mix

Voice of Bulgaria
Witches' Multipication Table
Mapping (with Phew)
Hey Baba Reebop
Biomutanten (Les Vampyrettes)
Sleazy (with Jah Wobble & The Edge)
Do The Fleischwurst (with S.Y.P.H.)
Full Circle R.P.S. (No 7) (with Jah Wobble & Jaki Liebezeit)
Mutability (A New Beginning Is In The Offing) (Detail) (with David Sylvian)
Persian Love

Wednesday, 6 September 2017

R.I.P. Holger Czukay

Friday, 1 September 2017

'Public Enemy Door is always open not for Bulsht'

Flav will be ok. @tmz Drama is beneath me considering our Age. It's low entertainment but I definitely like to find those 50 songs he wrote
Quite a lot more from Chuck D on this subject 

Neil Young - Hitchhiker (NPR Albumstream)

(...) Sometimes you grab whatever is close at hand and just get busy. The hours go by like minutes, and the next thing you know, the bucket is full.
So it was for Neil Young on August 11, 1976, at Indigo Studios in Malibu.
The Canadian singer and songwriter had material he'd been developing, including three songs that became part of his landmark Rust Never Sleeps with Crazy Horse – "Pocahontas," "Powderfinger" and "Ride My Llama."
He showed up with acoustic guitar and harmonica (moving to piano for the final track, "The Old Country Waltz"), and after a shaky-voiced check-in with the control room – the first utterance is Young on the talkback microphone, asking longtime collaborator David Briggs "You ready, Briggs?" – he put down stark, blueprint-like solo renditions of songs that he'd develop into fervent anthems on later albums. There's no affectation, no studio agony – just the songs, served straight up...

Don Letts and Turtle Bay present REGGAE 45 Mixes

Via Turtle Bay

Then & Now

Via MAD Magazine

Thursday, 31 August 2017

The Hippies Who Hated the Summer of Love