arDATE = new Array( "July 2005" ) arARTIST = new Array( "7% Solution", "Steward", "A. C. Marias", "drowning pool", "arco", "All Natural Lemon and Lime Flavors", "Yellow6", "Zone", "Various Artists", "Voices of Kwahn", "Bourbonese Qualk", "Wisdom of Harry", "Voyage", "Johnny Desmond", "Don Luis Qinteros", "Sonic Youth", "Al Brown", "The Deltairs", "Jay White", "Blossom Dearie", "Blackhouse", "thefatrooster", "hungryhippo1970", "Felix Knoth", "Backyard Mechanics", "Various Artists", "Various Artists", "Don Eliott", "Duet Emmo" ) arTRACK = new Array( "Revolver", "Can't Force The Hand", "It Seems", "Uncork The Mind", "Flight", "Your Imagination", "Finally 2", "Born of Fire", "Phoenicia - Scapegoat", "The Enclosure", "Dragging Us Down", "Woke Up Buzzing", "From East to West", "Side A", "strange", "I Dream I Dreamed", "Side A", "Side A", "Laura", "I'm Hip", "What Do You Know About Me?/Roger Wasn't...", "thefatrooster", "hungryhippo1970", "4 Tracks", "Radios", "Leo Kraft - Dialogues for Flute and Tape", "Dennis Cooper - Hello In There", "Do Nothing Til You Hear From Me", "Side B" ) arTITLE = new Array( "All About Satellites and Spaceships", "Goodbye To Everything You Love", "Time Was", "Satori", "Coming to Terms", "Turning Into Small", "Music For Pleasure", "Born of Fire", "Deadpan Escapement: Reconstruction", "Peninsular Enclosures", "On Uncertainty", "The House Of Binary", " - ", "C'est Si Bon", "Sizzling Strings, Castanets and Percussion", " - ", "The Madison", "Lullaby of the Bells", "Street Scene", "1975: From The Meticulous to the Sublime", "Hope...", "thefatrooster", "hungryhippo1970", "Die Pein Vom Haupt Ent Fernend", " BYMfL ", "Leo Kraft/Sydney Hodkinson", "Voices of the Angels", "Doubles In Brass", "Heart of Hearts (Or So It Seems)" ) arDESC = new Array( "Despite generous attention by many popular music publications, Seven Percent Solution has managed to stay clouded in obscurity. Their unique blend of sonic experimentation, psychedelic loops and solitary enigmatic vocals, has made Seven Percent Solution one of the more original rock bands to ever blossom out of the more conventional Austin, Texas music scene. The name of the band is based on the title of a classic Sherlock Holmes mystery in which Holmes is wrapped up in a cocaine addiction. This story revolves around ambiguity and paranoia making it an appropriate name for the band, considering that these are some of the core themes carried over into their music. Seven Percent Solution creates vast alien textures; landscapes that seem foreign, but upon closer inspection, they are the places we go when we are lonely and confused, or maybe reminiscing about dreams that escaped and deceived us.

Reese Beeman formed the band in Austin in 1992, Seven Percent Solution released their first full length recording this same year, but the self-titled debut only appeared on tape. Songwriter Reese Beeman led the effort by playing guitar, bass and lead vocals; Scott Sasser played drums on the album. James Adkisson, joined the band to play guitar on the 1993 Sugar EP. The band seemed to take a break, and was all but forgotten until the 1996 All About Satellites and Spaceships LP came out of nowhere, stunning both the fans and the media with its complex beauty. Bass player, Julian Capps joined the band in 1997, he also plays guitar, and sings back-up vocals. In 1999, the Gabriel's Waltz LP was released. This was the first album to feature all four members of the band.

With its layering of guitar drifts, vocal delay, and complex voice samples , it's quite impressive that All About Satellites and Spaceships was recorded without the aid of an expensive recording studio or major record label. Besides its obvious love for minimalism, Seven Percent Solution's specialty is its ability to transcend a quiet verse into a passionate chorus. The whispery vocals often get swept up into the current, but always sound comfortable among the sounds of confusion. Toward the middle of the record (namely the psychedelic 'Your Kingdom, Your World'), All About reaches a zenith, as guitar notes sound like transmissions from another galaxy. The sample track here, 'Revolve', is just breathtaking. ", "On Goodbye to Everything You Love, Boyracer's Stewart Anderson (aka Steward) offers up synth pop on 25 tracks that are full of surprises. The disc is a collection of songs originally released on the vinyl version of Goodbye to Everything You Love on 555 Records in 1998. Some tracks are taken off of Steward's debut LP, Get Me a Seat Next to Someone Nice, originally released on 555 Records in 1997. Various other tracks were also previously released. The music is sometimes harsh, always playful and inventive. The music can't be classified as pure indie pop, nor can it be dubbed electronica, although the music is heavy on electronic noise and synthesizers. Anderson incorporates found-sound recordings on multiple tracks, adding to his inventive streak. Highlights include the organ-based 'Waste,' complete with female co-vocals. That song is followed by the distortion-heavy and chaotic 'The Days Run Through Our Fingers.' The music gets simpler on 'Low Blood Sugar,' with acoustic guitar, keyboards, and vocals by Anderson. The heavy drumbeat on 'M.E.T.2' creates a powerful mix with Anderson's distorted vocals. The handclaps and upbeat mood on 'I Stir W/ Such Good Intentions' lead to the final listed track, the atmospheric and noisy 'Denied by Circumstance.' The xylophone and organ on the unlisted final track set a relaxed and carefree mood as the disc comes to a close. All of the tracks were recorded on a home four-track recording system. The opening track is featured here, and is the first song I ever heard by Steward.", "Angela Conway (Marias is her Catholic middle name) made her first recordings in the company of Bruce Gilbert and Graham Lewis, sometime in 1978. She maintained working links with the Wire duo into the '80's, releasing a seven inch single called 'Drop' on their Dome label, and forming with them the semi-legendary P'O, who explored an experimental approach to melody on their 'Whilst Climbing Thieves Vie For Attention' album of 1984.

Described by the chanteuse as 'music to disappear to', the first AC Marias single 'Just Talk', a collaboration between Angela and Bruce, appeared in on Mute in September 1986. She described herself enigmatically as an 'ex-babysitter, ex-girl, ex-traitor, on a mission to subvert the cretinous, moronic message of today's music,' a statement she partially de-coded in a Melody Maker interview: 'Ex-traitor I thought was quite funny, cos there's no such thing. Betrayal, whether it's personal or political, sticks with you always. The ex-babysitter has two meanings: looking after somebody els''s kids, obviously, but it's also spy slang for heavies who look after the defector in the safe house. I used to read that kind of John Le Carré spy fiction. I like the jargon. It's intriguing.'

Duality was a notion constantly explored in her work. 'I like the fact that there's this undercurrent of something not quite right underneath the beauty,' she said of her music. 'Strange noises underneath all the dreamy sounds.'

The next AC Marias release was the single 'Time Was', a cover of a little known Canned Heat track, on which Angela was ably assisted by Barry Adamson, Bruce Gilbert and Rowland S Howard. 'This one lets all the ghosts run wild,' enthused Sounds. 'Ms. Marias sings the lyric with a choirgirl's unblemished tranquility while all around Bruce Gilbert and Rowland S Howard spread a terrible wailing wall of slide guitars.' 'Everything I do is ambiguous, but simple,' considered Conway. 'It's not cryptic or precious.'

Still she continued to engage and enthral. Whilst maintaining a parallel career as a video director, Angela set about creating an album in which to spread out her net of intrigue. On 'One Of Our Girls (Has Gone Missing)' she and Bruce created a world of aural shadows and light, flickering mysteries that conveyed the stealth and intent of the true subversive. 'Disappearance can be quite a powerful thing,' Conway said of the title track, and later single. 'To not be present can be more powerful than actually being present and proclaiming your identity as 'woman'. That can be quite rigid, which is why people often say they don't want to be categorised, because it can be confining.' Similarly, with the suggestive washes of music, she was achieving more without stating the obvious: 'It can defeat the object, if you just blast something out. That can become just as familiar and bland as anything.' Sounds' album reviewed concurred: 'These dreams are ultimately more terrifying since their ambient gentility conceals faceless fears, and terrors which have no name.'

A final single, 'One Of Our Girls Has Gone Missing' followed in February 1990, and was an instant Single Of The Week in Melody Maker, whose Simon Reynolds enthused: 'One Of Our Girls' is thinnest air, at once sumptuous and austere: the kind of rarefied and confounding experience we'd ceased hoping from pop these days.' It was coupled with a playful rework of Lou Reed's 'Vicious', assisted by The Mute Drivers. After which, leaving listeners with the 'She's gone!' end refrain of the A-side playing out in their heads, AC Marias disappeared from view.

Angela Conway, who also directed the video promos for all AC Marias' single releases, is now a director at State Video. As well as working with Mute acts such as Barry Adamson, Nick Cave, Nitzer Ebb, and Erasure, she has also created videos for the likes of Tindersticks, Smashing Pumpkins and McAlmont And Butler.", "A moody, atmospheric double album, the tracks on Satori are variations on themes more than they are verse-chorus-verse rock songs; the record is composed of song-suites which begin delicately and ethereally and gradually build in depth and intensity. Overall, Satori is melancholy and spacious, with folk inflections; drums appear infrequently, while the sound is augmented with the occasional use of voice treatments, tape manipulation and sound collage. A demanding but rewarding listen.

This is my favorite track on the album, and worth the bandwidth for yu to download the full ten minuts of it. It is music for long drives on humid summer nights with the windows open and the stereo loud. ", "There will be few records released which capture fragility and tenderness without coming across as irritatingly fey. Arco's debut release is one such record, however. 'Speak' is a lovely, typically simple opener. Following after that, 'Alien''s guitars whine and threaten to rock out but manage to restrain themselves whereas on 'Flight' they chime deliciously like forgotten 80's innocents, The Lotus Eaters. 'Movie' begins like a Field Mice track, its deadpan lyrics betraying the dreamlike quality of the music ('Life's a bad movie but I'm way past caring. So I'll sit and watch with a beer and some friends'). With a bit more airplay, 'Coming To Terms' could seep into the consciousnes of the hardest hearts. ", "Ever since forming in the mid-'90s, All Natural Lemon & Lime Flavors have been constantly compared to such spacy alt-rockers as My Bloody Valentine, Radiohead, and Stereolab. But unlike the aforementioned outfits, A.N.L. & L.F. hail from New Jersey of all places, and not England. The group issued their self-titled debut release in 1996, resulting in a recording contract with Gern Blandsten Records shortly thereafter, and followed by such further releases as 1998's Turning into Small and 2000's Straight Blue Line. The same year as their third release, a re-release of their debut hit the racks, with several added previously unreleased tracks. ", "Raised on punk, English-born Jon Attwood has given up high-tempo, high-energy three-chord anger and given himself over to slow-motion oceans of instrumental bliss. As Yellow 6, his heavily reverbed, beautifully distorted guitars gracefully ascend, swoon and dip, freefall towards the earth, then catch themselves again, slowly tracing a complex and epic trajectory. The backgrounds are minimally constructed; often consisting of little more than some programmed beats and perhaps a bit of feedback. These all-instrumental compositions quietly evoke immense empty spaces, the grandeur of the sky, the stretch of the universe.

A limited-edition release but one which will certainly satisfy those who enjoyed the first album, 'Music For Pleasure' is the second full-length recording from Jon Attwood AKA Yellow6. The main criticism levelled at Attwood would be that these 11 tracks don't deviate noticeably from the formula of the first but when the music on offer is as quietly fascinating as this it seems churlish to complain. This time there are moments of Durutti Column-like subtle, chiming guitars as well as Attwood's own superior mixing skills which sound up-to-date and vital rather than a hackneyed attempt at jumping the bandwagon. Along with Labradford there are few instrumental groups which marry minimalism with such ageless emotional effect.", "Zone was formed in 1988, by Andrew Cadmore & Chris Brandrick, almost alone amongst contemporary Welsh bands to explore the legacy of pioneer and visionary Velvet John Cale. Zone’s eclectic musical influences range from the intense industrial music of Throbbing Gristle, the ambient electronics of Brian Eno & Tangerine Dream, to the experimental and avant-garde of Karlheinz Stockhausuen, Fred Frith (Henry Cow), Faust, & Can. On occasion gothic, forever ethereal, Zone’s music weaves across time into world music of infinite style and express wholeness.

Ever since Zone’s formation, Potentia has been the platform and label for all of Zone’s work. Since 1991 Zone’s musical releases have been handled through World Serpent Distribution, until their unfortunate demise in mid 2004, haven to numbers of radical modern artists including Coil, Carter Tutti (formerly Chris and Cosey), Nurse With Wound & Current 93.

Eschewing convention and compromise, always seductive and compassionate, Zone’s isolated and deceptively primitive approach to recording music has in itself become the third mind within Zone, where the whole is far more than the sum of the parts. Zone’s work has always been a passion, never a profession.

The name 'Born Of Fire' was taken from Jamil Dehlavi's film of the same name, staring Suzanne Crowley, Peter Firth, Stefan Kalipha and Nabil Shaban. The name was chosen simply because there was a clear sense of synchronicity between both the name and the raw subject matter of this film and much of Zone's idea's at that time. Also, only a few weeks prior to seeing the film for the first time, Andrew had visited many of the locations, where the film was shot, while touring Turkey, with The Beshara Trust, and attending the Sema ritual, of the Mevlevi Order, in Konya.

Originally released jointly between Potentia Records and Luciano Dari's Italian record label Musica Maxima Magnetica (catalogue No.ZONE 003/eee 005) the recording appeared during February 1991 in CD format only, as an initial edition of 1000 copies. The CD was distributed through People Who Can't Distribution, now World Serpent Distribution.

The front cover photo was taken by Andrew in 1988 and is of a mosaic depicting the Christian Nativity scene, to be found in one of the domes at the Byzantine Kariye Monastery (Church of St.Saviour in Chora) in Istanbul, Turkey. The back cover photo (§) is the view looking through the Atomic Bomb Memorial Dome, located very near to the heart of the Atom Bomb explosion (Ground Zero), in Hiroshima, Japan.

In addition to English the CD booklet text was reproduced in both Italian and Japanese, this was chosen because of the Musica Maxima Magnetica connection and the references to Hiroshima, Japan, both in the rear cover photo and the theme of the second track 'Heart Of The Atom (Ground Zero)'.", "Heavy-duty line up of reconstructions of original music by Sutekh and Twerk by: Safety Scissors, Phoenecia, Timeblind, Mannequin Lung, Jake Mandell, Matmos, Kit Clayton, Stewart Walker & Mick Harris. Originally released in 1998, Deadpan Escapement was the first collaboration between California techno artists Sutekh and Twerk. Establishing them as innovative, up-and-coming producers, the ten track double 12-inch combined pure sonic experimentation with dancefloor structures to create a new breed of deep, dark techno. Two years and many releases later, Sutekh (operator of Context) has revisited the project. After a rigorous selection process, ten internationally renowned artists representing all sides of the electronic music spectrum were granted the opportunity to bastardize and manipulate Deadpan Escapement. The results range from glitchy noise to broken hip-hop to electro, techno, and everything in between. Taken as a whole, Deadpan Escapement: Reconstructed reflects the chaotic beauty that arises when disparate elements collide. With this, the fourth release in the Context canon, Sutekh seeks to prove that techno music is about exploring new sounds and rhythms, experimenting with form and function beyond predictable, thumping beats. These ideas inform the Context aesthetic and foreshadow the diverse output of the label.", "Voices Of Kwahn are American vocalist (and performance artist) Anna Homler and multi-instrumentalist Mark Pylon King Davies. The single Colonist Dreamer introduced their elegant fusion of quirky vocals and electronic/ethnic ambience. Originally, on Rebirth (Max-Bilt, 1993), Nigel Butler was the keyboardist and the sound was a light patina of samples, dance beats, dub reverbs and vocal avantgarde (but Homler's contribution is minimal). Butler left, Davies absorbed ethnic influences and Homler's vocals became a staple of the dance/trance format (The Great Call, Silver Bowl) on Silver Bowl Transmission (North South, 1996).

Peninsular Enclosure (Swarffinger, 1997) is less ethereal and, at times, almost industrial. Heavy on the samples and the percussions.

The mini-album Operation Dismantled Sun (Swarffinger, 1998) presents yet another version of Voices Of Kwahn, one that has left behind the ambient/new age leanings of the early albums (and Homler's vocals) and favors a harder, harsher, haunting approach.", "Vocalists and multi-instrumentalists Julian Gilbert and Simon Crab formed Bourbonese Qualk in 1982 with drummer Steven Tanza. The band has released eight albums since 1983's Laughing Afternoon, though Gilbert and Tanza left by 1985 -- Gilbert to become a writer, and Tanza to form his band, The State. They were replaced gradually by guitarist Miles Miles, drummer Owen Rossiter, vocalist Isa Soares, lyricist/vocalist Craig Runyon and DJ Christophe Fringeli.

Bourbonese Qualk released three of its first four full-lengths (Laughing Afternoon, Hope, Preparing for Power) on its own Recloose label, but has skipped around since, recording one album for Atonal/Dossier (1986's The Spike), two for New International (a self-titled 1987 album and 1990's Bo-Qu), two for Funfundvierzig (1990's My Government Is My Soul and Feeding the Hungry Ghost in 1994) and one for Spark (1994's Autonomia).

'On Uncrtainty' marks a return for the band after nearly ten years of silence. It almost seems logical really, given the chaotic nature of this music, when one considers the futuristic-ness of experimental music, so that what BQ started in the 1980s would transfer into timeless sounds and current application.

On Uncertainty plays like a collage, with each track disconnected from the others, but making a whole picture. For some reason, it puts me in mind of the old sci-fi animation Fantastic Planet. Track to track there is a depiction of differing moods and sentiments, with very little literalism and loads of ideas set in spiral for the individual listener to interpret. The disconnections do break up any chance of fluidity for the overall sound, but also seem necessary to leave a lot of room for the individual to create a cohesion in their own mind.

Basically this is an electronic Ambient record. There are plenty of organic sounds as well, though, so as not to sound too computer generated. The ambience gives way often to a very groovy Funk flow with a lovely bit of rythym guitar which further alienates this music from being classed as just one kind of thing. There are vocals lent in by Isa Suarez, but they are so minimal as to be easily missed. There are many moments of peaceful orchestrastions, something dreamlike about all that spacey ebb and flow, and more than a few very noisy parts that just don't go with the pretty parts, but then again they do. One gets the impression that Bourbonese Qualk are a set of muscicians and programmers who have skill running out their ears, have been trapped on a deserted island for the last seven years or so, and have suddenly found themselves back in the world of the programmable, and the playable. Let's just hope they don't do another disappearing act too soon.", "The Wisdom of Harry came together at the height of new-revival punk rock (Sonic Youth, Nirvana, Mudhoney) in the early '90s, but didn't achieve the major hype like their post-punk counterparts. Composed of the aesthetics similar to My Bloody Valentine, Mogwai, and Catherine Wheel, the Wisdom of Harry were associated with the ethereal elements of the Wurlitzer Jukebox label and Weather Prophets singer/songwriter Pete Astor is the face behind the project. After making a name for itself with the likes of Andrew Weatherall and Cornelius, the Wisdom of Harry signed to Matador in the latter '90s. Stars of Super 8, which was a collection of Wisdom of Harry's earlier material, was released in 1999. House of Binary was issued a year later. ", "The 1978 classic, from the debut abum of the French band Voyage (pronounced as in Bon Voyage...). Their two big hits were pure disco, such as this tune, however the remainder of the music on their albums was heavily ethnically influenced. ", "Johnny Desmond's ultra-smooth vocals earned him the nickname of 'The Creamer.' He enjoyed success in Detroit during the 30s before forming a foursome known as The Downbeats, which joined Bob Crosby's band, the Bob-O-Links. Desmond joined Gene Krupa's band as a lead singer in 1941, later worked with Glenn Miller's Air Force Band, and was known as 'The G.I. Sinatra.' He later was a featured member of Don McNeill's Breakfast Club in Chicago and recorded for RCA, Coral, MGM. He was also featured on '50s television staples Hit Parade and Face the Music.

This record is vintage 1951 or so. It's always comical when ultrastraight guys try to be cool, as evidnent in the embarrassing line 'Voila? Hey, that's French for Daddy-o!' Quite a hoot, this. ", "At first, I was listening to this album with a totally derisive, sardonic bent. I've heard hundreds of these ping-pong percussion records, and I've always asked myself what the sensibility of the engineers must have been thinking to create such obviously artificial sounding music and call it 'High Fidelity'; nothing sounds like this in real life, so exactly what is this fidelity related to? Most of this album is orchestrated fluff, but this piece just struck me. First, it's completely out of place on the album. Second, it's absolutely gorgeous flamenco guitar, some of the best I've heard in this period. And, despite the sterophonic image gimmickry, and WAY over-the-top castanets, it's very well recorded. But the oddly extreme panning gives this music a quasi-3d effect, like planar images set apart by space, casting shadows on each other and sounding vaguely similar to the way view Master images look.

Born in Venezuela, now residing in NY, Luis Quintero's guitar has touched a huge range of Latin music over 4 decades. ", "Of all the threatening punk bands, no one has been more menacing than Kim Gordon when she snarls 'May All Your Dreams Come True...' This is Sonic Youth's first record, and still one of my most favorites. It's a Threshold record because, well, it changed everything. They were a punk band, but they weren't playing punk rock. They were an art band, but they were't playing artsy shit. They were a rock band, but they weren't playing rock. They were totally driven by noise, yet they were one of the most coherent bands around. They were far off the beaten path, even for the whole No Wave thing, and yet their music was so right, so intrinsically New York that it could not be ignored.

Back to 1982. I'd just graduated college and began working at the same company where I work now. That summer, I'd taken many trips to NYC to round up all my shit from my parent's house in Brooklyn, so I could settle my life in Boston. One evening, I'm sitting in a cafe with some friends and the guitars of this song start to flow out of an apartment across the street. I made some remark about the music, that it was so perfect it was almost inaudible in the noise of New York - not because New York noise drowned it out, but because it was completely harmonic with the noise of the city. Someone at another table said it was Sonic Youth, the record was just out. Later that night, shopping, we found a cheap used copy of it. Used?! Already? Talk about a New York Minute...maybe it was Ed Bahlmann's copy. The story goes that Ed Bahlmann, from 99 records, refused to release this on his label. It was Glenn Branca who issued it on his Neutral imprint.

So, Sonic Youth, of course, need no introduction. But maybe this early stuff is still unfamiliar to some...

I should say, I saw Sonic Youth perform a few times in the early years. In '82, I was at a show in November at CBGB, and in '83, I saw them perform with Ut at the Sin Club. I asked both times for them to play this and got yelled at. Then, in Providence, 1988 at the Living Room, during the Daydream Nation tour, I yelled from the crowd for this song, and Kim screeched 'Don't Tell Me You Paid Money for That Shit!' - I did, but it was a used copy and they never saw a dime of it...", "Top 40 in the dance craze during 1960, The Madison is one of my favorites. It's almost the same song as repopularized in the movie 'Hairspray', but that was done by the Ray Bryant combo. THis is the one I remember as a kid...ya lookin' good! ;-)", "There's a lot of discourse about this group, contemporaries of superstars The Chantels. They had this one notable song, and then they spent several years trying to build a career. The problem is, just about every account I've read of this group has been unbearably boring; they spent lot of time covering 'Look in My Eyes', the latter-day Chantels classic, and recording Lincoln Chase tunes that went nowhere. This is a great song. Unfortunately, it was their first and they never achieved anything close again. A common story...", "I haven't been able to find any info on Jay White. I purchased thia album at a yard sale a while ago. From the odd image on the cover, I was expecting it to be somewhat more adventurous, but the liner notes hinted at a wimpier lineage. This is a definite early 50's jazz/hit parade piece. ", "A singer, pianist and songwriter, with a 'wispy, little-girlish' voice, Dearie is regarded as one of the great supper club singers. Her father was of Scottish and Irish descent; her mother emigrated from Oslo, Norway. Dearie is said to have been given her unusual first name after a neighbour brought peach blossoms to her house on the day she was born. She began taking piano lessons when she was five, and studied classical music until she was in her teens, when she played in her high school dance band and began to listen to jazz. Early influences included Art Tatum, Count Basie, Duke Ellington and Martha Tilton, who sang with the Benny Goodman band. Dearie graduated from high school in the mid-40s and moved to New York City to pursue a music career. She joined the Blue Flames, a vocal group within the Woody Herman big band, and then sang with the Blue Reys, a similar formation in the Alvino Rey band.

In 1952, while working at the Chantilly Club in Greenwich Village, Dearie met Nicole Barclay who, with her husband, owned Barclay Records. At her suggestion she went to Paris and formed a vocal group, the Blue Stars. The group consisted of four male singers/instrumentalists, and four female singers; Dearie contributed many of the arrangements. They had a hit in France and the USA with one of their first recordings, a French version of 'Lullaby Of Birdland'. While in Paris, Dearie met impresario and record producer Norman Granz, who signed her to Verve Records, for whom she eventually made six solo albums, including the highly regarded My Gentleman Friend.

Unable to take the Blue Stars to the USA because of passport problems (they later evolved into the Swingle Singers), she returned to New York and resumed her solo career, singing to her own piano accompaniment at New York nightclubs such as the Versailles, the Blue Angel and the Village Vanguard. She also appeared on US television with Jack Paar, Merv Griffin and Johnny Carson. In 1966 she made the first of what were to become annual appearances at Ronnie Scott's Club in London, receiving excellent reviews as 'a singer's singer', whose most important asset was her power to bring a personal interpretation to a song, while showing the utmost respect for a composer's intentions. In the '60s she also made some albums for Capitol Records, including May I Come In?, a set of standards arranged and conducted by Jack Marshall.

In the early '70s, disillusioned by the major record companies' lack of interest in her kind of music, she started her own company, Daffodil Records, in 1974. Her first album for the label, Blossom Dearie Sings, was followed by a two-record set entitled My New Celebrity Is You, which contained eight of her own compositions. The album's title song was especially written for her by Johnny Mercer, and is said to be the last piece he wrote before his death in 1976. During the '70s Dearie performed at Carnegie Hall with former Count Basie blues singer Joe Williams and jazz vocalist Anita O'Day in a show called The Jazz Singers. In 1981 she appeared with Dave Frishberg for three weeks at Michael's Pub in Manhattan. Frishberg, besides being a songwriter, also sang and played the piano, and Dearie frequently performed his songs, such as 'Peel Me A Grape', 'I'm Hip' (featured here) and 'My Attorney Bernie'. Her own compositions include 'I Like You, You're Nice', 'I'm Shadowing You' and 'Hey John'. From 1983, she performed regularly for six months a year at the Ballroom, a nightclub in Manhattan, and in 1985 was the first recipient of the Mabel Mercer Foundation Award, which is presented annually to an outstanding supper-club performer.", "While the Hafler Trio managed to convince a legion of hip, cool fans who were more desperate to believe in something than they were willing to admit of the validity of of the claims of one Dr. Moolenbeek and all of the unlikely events described on the record jackets, Blackhouse never fooled anyone. Despite the rumor that they were an ultra right-wing Christian band from Colorado fascinated by the power of noise as a potential tool for spreading the word of God, the 'c/o Ladd-Frith' mailing address was a dead giveaway that this was a side project of Brian and Julie.

Nevertheless, this first vinyl outing of Blackhouse from 1985 was a powerful stab into our collective heretical backs, leaving behind a contaminated shank that continues to enflame to this day. Blackhouse made use of overdriven guitars and incredibkly obnoxious sounds like urgently whistling teakettles that make you profoundly uncomfortable all on theri own, nevermind as the backdrop to a troubled conversation with God. Effective and claustrophobic, this was the modus operandi of induistrial and post-indistrial music. ", "thefatrooster", "hungryhippo1970", "A remarkable record, which is best explained here. You can see a picture of my own copy on my own turntable above. Felix Knoth is a formidable character in german experiemtnal music. Four tracks have been concatenated into the one track presented here. I'vehad this record for a few years, and according to the website, it is still available. This is one record that really must be owned. I've presentd tracks 1-4 here, the website lets you hear tracks 7 and 8. ", "A totally obscure bedroom release from a group of writers and musicians who referred to their loose association as Burning Press. This particular release, by the Backyard Mechanics, is especially entertaining. ", "What I like most about this piece is the harmonious marriage of trtaditional, acoustic, classical instrument with pure electronics. The sounds marry together incredibly well, resulting in, for me at least, a fascinating listen. But then, it's on CRI... ", "It's 2005, and we can reminisce about listening to this Dennis Cooper blurb from 1982, where he himself waxes nostagic about Stawberry Alarm Clock, Ultimate Spinach and The Circle Jerks. 'Voices of the Angels' is a mammoth double LP of short spoken word pieces by literally everyone in the whole fucking world...", "An extremely popular player in the '50s, Don Elliott was a fine soloist in swing mode. He first studied piano and accordion, then played baritone horn and mellophone in his high school band. He switched to trumpet whe playing in local dance bands, and as a teen worked with fellow teen Bill Evans. Elliott studied harmony at the Institute of Musical Art in New York in the mid-'40s, then played trumpet in an army band. Following that, he studied arranging and vibes at the University of Miami in 1947. When he returned to New York, Elliott played with George Shearing, Teddy Wilson and Benny Goodman. He later performed and recorded with Terry Gibbs and Buddy Rich before forming his own band. Elliott took 'miscellaneous instrument' honors in Down Beat five straight years in the late '50s. During the '60s and '70s he did Broadway shows and composed film scores and songs for radio and television commercials. He returned to jazz in 1975, serving as a guest soloist with The New York Jazz Repertory Company at Carnegie Hall. ", "This is a new category, documenting all of the home page theme songs for PaulCollegio.net. I don't change the theme all that often, so this won't be updated. With the July Jukeboxes, I'm changing the theme to this classic Duet Emmo remix. Duet Emmo was a one-off project between Wire's Bruce Glibert and Graham Lewis with Daniel Miller, head of Mute Records and brains behind 'The Normal' and other projects such as Undark. The three collaborated on other projects as well, such as the MZUI installation recording for example. The one Duet Emmo LP was not received well critically - which is hard for me to understnad, because it was so driven by the whole DOME sound of post-Wire Gilbert and Lewis that I would have imagined it to be received at least equally as well. But, whatever, this remix is more club oriented and received a lot of airplay on my radio programs over the years. " ) arLABEL = new Array( "X-Ray", "Darla", "Mute", "Nate Starkman and Sons", "Dreamy", "Gern Blandsten", "Rocket Racer", "Potentia", "Context", "Swarf Finger", "Korm Plastics", "Matador", "Marlin", "MGM", "Directional Sound", "Neutral", "Amy", "Ivy", "Somerset", "Daffodil", "RRR", "thefatrooster", "hungryhippo1970", "Rund Und Dem Watmann", "Burning Press", "CRI", "Freeway", "Vanguard", "Mute" ) arFORMAT = new Array( "CD", "CD", "12-Inch Single", "Double LP", "CD", "LP", "CD", "CD", "CD", "CD", "CD", "CD", "LP", "78 RPM 10-inch", "LP", "LP", "45 RPM 7-inch", "78 RPM 10-inch", "LP", "LP", "LP", "thefatrooster", "hungryhippo1970", "!2-Inch EP", "cassette", "LP", "LP", "10-inch LP", "12-inch Single" )