arDATE = new Array( "November/December 2005" ) arARTIST = new Array( "The Atlantics", "The Homosexuals", "Stained Rug Theory", "Tuxedomoon", "Broken Spindles", "Ellen Allien", "Siddal", "Pnau", "Feezepop", "Hood", "The Castanets", "Jacob Kirkegard", "Don Ray", "Oliver Jones", "Lord Didd", "Regresive Aid", "Darlene Love", "The Wrens", "Al Castellanos", "Nancy Sinatra & Lee Hazelwood", "Peter Duimelinks/Frans DeWaard", "thefatrooster", "hungryhippo1970", "ABGS", "Various Artists", "Luc Ferrari", "Various Artists", "Dave Brubeck", "Sybarite", "Various Artists", "Various Artists", "Sailcat" ) arTRACK = new Array( "Side - A", "1.2 Soft South Africans", "1.3 Genetalia [sic]", "2.1 What Use...?", "5. Matte", "5. Washing Machine is Speaking", "4. When the Wolf Comes", "A2 A Special Interlude ", "6. Outer Space ", "C1. The Rest of Us Still Care ", "12. Dancing with Someone (Privilege of Everythin)", "7. Izanami ", "2.1 Standing In The Rain", "Side A", "Side B", "1.1 Years and Years", "Side A", "Side A", "Side A", "1.1 Some Velvet Morning", "3. Desiderio in Rovina", "thefatrooster", "hungryhippo1970", "15. Silo at Port Dortmond", "Multiple Tracks", "1. Unheimlich Schon", "3.3 Richard Meltzer - Valium Restaurant", "1.4 Castillian Drums", "Side B", "3.1 Hermann & Kleinn - A Day in the Park", "Multiple Tracks", "1.5 Motorcycle Mama" ) arTITLE = new Array( "Lonely Hearts", "Astral Glamour", "Innocence", "Half-Mute", "Broken Spindles", "Thrills", "The Pedestal", "Again", "Fancy Ultrafresh", "The Lost You", "First Light Freeze", "Eldfjall", "The Garden of Love", "What I Say", "Gunga Didn't", "Effects on Exposed People", "(Today I Met) The Boy I'm Gonna Marry", "Come Back My Love", "The Speak Up Mambo", "Movin' with Nancy", "Duimelinks/DeWaard", "thefatrooster", "hungryhippo1970", "Echte", "Narodna - Music from Albania, Croatia, Macedonia and Serbia", "Unheimlich Schon", "Breathe on the Living", "Right Now!", "Invisible Magnetic Missive", "Thrillbeat Collection", "Four Years in Thirty Seconds", "Motorcycle Mama" ) arLABEL = new Array( "Alltime", "Morphius", "L56", "Ralph", "Tiger Style", "BPitch Control", "Bedazzled", "Underwater", "archenemy", "Domino", "asthmatic kitty", "Touch", "Polydor", "Gee", "Mister Peacock", "Rhesus", "Philles", "Rama", "Mardi-Gras", "Reprise", "V2", "thefatrooster", "hungryhippo1970", "Void Kampf Test", "Touch", "Metamkine", "Nexus", "Columbia", "emanate", "Thrillbeat", "Dirter", "Elektra" ) arFORMAT = new Array( "Seven Inch Single", "3CD Box Set", "LP", "LP", "CD", "CD", "CD", "LP", "CD", "Double Seven-Inch", "CD", "CD", "Disco 12-inch single", "78 RPM 10-inch", "45 RPM 7-inch", "LP", "45 RPM 7-inch", "45 RPM 7-inch", "7-inch single", "12-inch LP", "3-inch CD", "thefatrooster", "hungryhippo1970", "CD", "cassette", "3-inch CD", "3LP", "LP", "7-inch Single", "Double LP", "Ten-Inch LP", "LP" ) arDESC = new Array( "The Atlantics were a highly entertaining and popular club band in the 1970's Boston scene. The local radio shows, specifically WBCN, gave them hit after hit, most notably a tape 'Pop Shivers' and a tremendous 45 rpm 'Lonely Hearts' featured here, which Gary Private had a minor hit with after the fact. They had one major label release, on ABC, which totally sucked, and seemed like a much different band than on this great single - wtf were they thining? Anyway, manager Fred Munao's wife Susan Munao was busy managing Donna Summer, and it's absolutely ridiculous to compare the two - as so many often did, just to establish some wannabe link. Fred Pineau's guitar licks are certainly electric enough, but as Elliot Easton of the Cars was never allowed to do on record what fans saw him do in the same nightclubs where the Atlantics performed, Pineau also is used here as a solid rhythm, his leads limited, not allowed to pour his inventive guitar blasts all over these pop tunes. Founding member and co-songwriter Jeff Locke left this band to form UXB, a formidable pop unit with precise vocals and songs that hit the mark; but Locke left the nest with no professional guidance, so outside of some college radio success, UXB went nowhere, and the Atlantics minus Locke, even touring with Roxy Music or opening for Alice Cooper, couldn't bring titles like 'I Can't Help It' to the masses. The band had lots of heart, but they should have studied ABBA, the Beatles, and even their local peers, the Cars, to really make a go at the brass ring. With the tragic death of B. Wilkinson, an Atlantics reunion may be impossible. Finding great live tapes of their finest moments may be in order, and it's surprising that they haven't surfaced yet. This is a band that people either loved or hated, and if you _hated_ them, as did most of my circle of friends, you allowed yourself to secretly _love_ this one song, but you wouldn't have been caught DEAD at one of the shows...", "As cultural constructs such as 'punk' traverse the dimming corridor of history, they're revised in unfathomable ways. Temporal distance hews away their ambiguities until they fall into orderly, narrative rank and file. In our collective memory of historical events, some players are canonized, others are diminished, and the process that separates them often seems arbitrary. With punk rock, this process of selective forgetting has at least one discernible component-- the most heralded old punk bands are the ones that mainstream rock critics ordained as the movement's standard-bearers. Most of us remember The Sex Pistols, The Clash, X, The Germs, The Ramones, Wire, The Fall, and Black Flag. But how many remember Crime? What about The Adverts? What about The Homosexuals?

Perhaps The Homosexuals, who evolved from a band called The Rejects, were never in the right place at the right time. But this seems unlikely, considering that The Rejects were opening The Roxy for The Damned, The Jam and Wire in the late '70s, which is pretty prime in terms of the punk zeitgeist. Perhaps their name scared away cultural dilettantes slumming for a more mannered radical idiom, but this is also improbable: The Sex Pistols didn't seem to have much trouble cementing their legacy. Perhaps The Ramones' tri-chord sing-alongs were just more memorable than The Homosexuals' adventurous, eclectic song structures (and 'Gabba gabba hey' does stick in the brain a bit more than 'Ivory elbows/ Deny shads edge'). Nevertheless, in our current climate of rampant historical salvaging, it seems likely that every shooting star in the fleeting firestorm that was punk will be plucked from the obscuring swarm and bronzed for posterity. The Homosexuals are the latest to come (back) down the pike, clothed in new fire: reissued, remastered, repackaged, and finally, remembered.

The triple-disc Astral Glamour clocks in at a whopping 81 tracks, and documents every salvageable mote of music The Homosexuals committed to tape or vinyl from 1977 to 1984, including multiple versions of many tracks (guitar mixes, vocal mixes, live versions, instrumentals). Most of the first disc's songs appeared on the posthumous 1984 Homosexuals LP and The Homosexuals' CD reissue that was released earlier this year. So it's the second and third discs that will get exhaustive collectors all hot and bothered-- they're brimming with tracks restored from decaying LPs and an ultra-rare tape of which 10 known copies exist, plus demos, singles, unreleased tracks and alternate versions unavailable anywhere else. Handsomely packaged in a gate-fold case with a 32-page booklet of photos, posters, lyrics, and commentary, Astral Glamour might be the collection by which the best punk band that no one heard finally get their due.

The Homosexuals epitomize the British post-punk style of the late '70s (why didn't Rough Trade pick this up?), combining the brainy word collages and winding guitars of Scritti Politti with the manic energy and bizarre flourishes of The Pop Group. Even remastered, Astral Glamour raises shitty production to an artform, and the tinny guitars one associates with old punk records achieve effects of depth, texture and distortion that are startling. But what really distinguishes The Homosexuals from their numerous peers is the remarkable diversity of their output, which maintains its vigor and cohesive mien while exploring different methods of construction and tone: ramshackle pop, mangled dub, rock shredding, garage funk, Afrobeat, and gutter psychedelia.

'My Night Out' blasts off with chaotic guitars and babbling, affected vocals reminiscent of The Pop Group's 'We Are All Prostitutes', before collapsing into a streamlined pop/punk anthem. The title track evokes Entertainment!-era Gang of Four, with its melodic bass licks and trash-funk guitars. 'Hearts in Exile' has a squalid grandeur as it moves in and out of the speakers, a ghostly, vanishing version of the Psychedelic Furs' sweeping paranoia. 'You're Not Moving the Way You're Supposed To' reworks New Age Steppers-style ragga-punk with plinking harmonics and euphoric rock breakdowns. The twinkling piano and amorphous atmosphere of 'Nursery Chymes' predict The Walkmen 25 years before their advent, just as 'In Search of the Perfect Baby' seems to auger the disturbed and dilapidated opulence of Frog Eyes. The complete songs are strung together with wispy motes of ephemera, such as the fractured dub of 'Symbols I Love' or the electric stutter and flux of 'Black Noise', which rolls into the twangy, laddering funk of 'Ants on Parade'. Taken alone, any song on Astral Glamour is engaging. Taken together, in all their multiplicity and ambition, they cohere into a monstrous and shambling mutant before which one just collapses slack-jawed and cowers.

As David Berman put it, 'Punk rock died when the first kid said _Punk's not dead._' Maybe so, but as limb after limb is plucked from the wreckage, it's leaving behind one exquisite corpse. The three-plus hours of material ranging over Astral Glamour unites The Homosexuals' fragmentary oeuvre to reveal them as punk visionaries who were at least as questing, untamed, and ultimately listenable as any of their more renowned contemporaries. This is the sound of history revising itself toward perfection.", "You know a record is rare when you search for it on line, and you find no reviews, only adds to sell it for $50 or more. This synth/experimental duo was active in the mid-late 80's in Providence RI, and was a lot of fun to see perform in the spaces of AS220 and the Rocket. This is a definite collection song. :) ", "One of my favorite bands ever, Tuxedomoon's debut album on Ralph Records followed in the wake of several EPs and singles released on their own label. Unlike many techno bands in the wake of punk, they punctuated the electronics with instruments such as sax and violin, the sax reminiscent of the self-taught sounds of David Bowie -- not entirely polished, but unmistakable. The lyrics are dark and morose with glimpses of humor. Peter Principle's bass sounds positively chunky as well, contrasting with the rather fey but propulsive drum machines. 'What Use?' is as close as they get to pop here, while other tracks ('Fifth Column') replicate the sort of European despair mined by Kraftwerk or Bowie on the second half of Heroes (another Bowie reference -- however, they were one group whose vocalist didn't try to sound like him). 'Dark Companion' borders on the pretentious but narrowly gets away with it. The experimental musicianship is what makes this album recommended. ", "Broken Spindles is the lo-fi electronic solo project of bassist Joel Peterson, the founding member of Omaha, NE‘s The Faint. His project began as an accompaniment to a friend's film project but was ultimately realized as an 11 track self-titled album released on Tigerstyle Records in 2002. This album was a curious mixture of electro, emo, Faint-style new wave and so-called incidental music with an aggressive yet retro-kitschy twist. Since there are no vocals, the drama came from quickly escalating dynamics and the interplay between Peterson's keyboard army and a host of analog sounds like the glockenspiel and dulcimer, added at Presto! Recording Studios by engineer Mike Mogis. A tour followed in the fall of 2002 with Peterson playing behind a giant screen showing a film, one he himself created, to accompany his music. Peterson returned with Fulfilled/Complete in spring 2004. While the first two records were recorded in professional studios, 2005's Inside/Absent was recorded and mixed in Peterson's home.", "Like a lot of dance music producers, Berlin's Ellen Allien has had her hands in just about every aspect of her field. Allien's immersion into dance music began during an extended stay in London, at the height of the acid house phenomenon. Shortly after returning home, she got into DJing and, by 1993, she had spun at Fischlabor, Tresor, and a number of other significant clubs. Throughout the remainder of the '90s, she hosted programs on Berlin's Kiss FM, worked at the Delirium record shop, operated a label called Braincandy, and threw a number of parties called BPitch Control, which led to her label of the same name. She eventually became a noted producer; along with a slew of 12-inchreleases, she issued the full-lengths Stadtkind (2001) and Berlinette (2003), along with the mix album Weiss Mix (2002). This is her latest release. ", "The ambient dream pop of Siddal began in 1991 when four music fans came together for a love of art, poetry, and culture. However, constant lineup changes plagued the group and by 1992, Siddal consisted of Elaine Winters and Richard Brinkley. The duo, who took their name from the 19th century activist Elizabeth Siddal, incorporated elements of space rock, trance, and darkwave, and they were frequently compared to the likes of the Cranes, the Cocteau Twins, and the Sundays. Bedazzled issued their first single, 'Frozen Garden' in 1992 and subsequent tracks and albums followed throughout the decade: Pedastal was issued in 1995 and the sophomore effort The Crossing followed a year later. By the close of the '90s, Winters and Brinkley married and had a son. They were also writing songs and playing gigs around the East Coast.", "Pnau -- made up of Brisbane school buddies Nick Littlemore and Peter Mayes -- were not the typical Aussie music act when they first hit the stage during the mid-'90s. Instead of rock, they played acid house and trance. In a changing climate down under, however, in which dance music was gaining strength, the duo swiftly won plenty of fans and respect. By the time Pnau were ready to put out their debut album, they had gravitated toward deep house, funk, and hip-hop with Latin and jazz flavors. The album, titled Sambanova, was released in 1999 by Warner and made a big splash on Australia's underground music scene. However, as a result of problems with the copyright of some of the samples used on the album, the record company decided to re-release it. The new version of Sambanova came out in 2001, minus two tracks seen on the original, 'Arthur's Pizza' and 'Disc One,' but boasting three fresh numbers: 'Journey Agent,' 'Ordinary Day' and 'Searchin'.' This is a cool ambient track on a disc of mostly breakbeat stuff. Nice. ", "Freezepop formed in 1999 in Boston, MA, and as legend has it they decided to form a synth pop band because the icy cool of the synthesizer was the perfect antidote to that summer's excruciating heat. The band consists of vocalist Liz Enthusiasm, programmer The Duke of Pannekoeken (a.k.a. of Duke of Belgian Waffles, a.k.a. of Duke of Candied Apples), and keyboardist the Other Sean T. Drinkwater, also of Lifestyle. While the band has shied away from their '80s retro image in interviews, their sound and '80s pop culture references (they have a song titled 'Tracey Gold') are one of the reasons they have connected so well with Boston's large college student population and the national synth pop scene. Friends apparently call the Other Sean T. Drinkwater 'That '80s Guy.'

Freezepop, who play all of its music on a Yamaha QY-70 battery powered sequencer, borrow both from the stylized new wave synth pop of the early '80s and the amateurish side of late '90s punk-pop acts like Bis and Huggy Bear. After releasing two EPs in 2000, the band's debut, Freezepop Forever, was issued in early 2001 to mixed reviews. Their follow-up, a deluxe EP entitled Fashion Impression Function, followed in early 2002 as the band's exposure increased as they won Best New Band at the American Synthpop Awards, became WBCN Rumble semifinalists, and had their 'Science Genius Girl' featured in a Playstation 2 game. Fancy Ultra Fresh followed in spring 2004. A nod of the head should be given to established locals Futire Bible Heroes and Chris Ewen as well.", "Another of my favorite bands of all time, these Leeds, England-based lo-fi bliss-popsters Hood comprised Andrew Johnson, Chris Adams, Richard Adams, John Evans, Craig Tattersall and Nicola Hodgkinson. The group debuted in 1992 with the seven-inch 'Sirens'; after 1993's 'Opening into Enclosure,' a year later they issued Cabled Linear Traction, which collected their two earlier singles. Absent throughout 1995, the year following Hood returned with a barrage of new material -- after three singles ('Lee Faust Million Piece Orchestra,' 'A Harbour of Thoughts' and 'I've Forgotten How to Live,' all of them issued on different labels), the group also released the full-length Silent '88. Secrets Now Known to Others, a ten-track EP of material recorded for but not included on Silent '88, appeared in 1997, as did the album Structured Disasters. Though it wasn't released in America, The Cycle of Days and Seasons followed on Domino in 1999. They returned in 2001 with the Home Is Where It Hurts EP, which was the group's first American release in four years and showcased their increasingly electronic direction. They continued in that direction on Cold House, a bleak and experimental effort released the same year. Late in 2004, the Lost You EP arrived in anticipation of 2005's Outside Closer. ", "San Diego's Castanets borrow from country, folk, and experimental rock and turn them into a sound that's equally moody and inspiring. The band, which features members of Pinback, Rocket From the Crypt, and Tristeza, revolves around singer/songwriter Raymond Raposa, who explored the U.S. for four years via Greyhound Bus after testing out of high school at age 15. This searching, traveling nature extends to his music, which he initially released as a series of CD-Rs. However, the Asthmatic Kitty label stepped in and released his first widely available album, Cathedral -- the bulk of which was recorded in a cabin in Northern California's woodlands -- in fall 2004. A year later, Raposa and company returned with First Light's Freeze. ", "When the choice of instrument is the actual earth itself, at least it won't require patient care and replacement parts, though one can't blame it for being temperamental. But this is precisely why Jacob Kirkegaard went to Iceland to record Eldfjall, an album consisting of field recordings made during 2004. Kirkegaard's interest in natural sound made Iceland a perfect choice -- it's one of the most geologically active and unstable places on earth, with geysers and volcanoes defining the land as much as ice and snow. Recorded with microphones directly driven into the ground, Eldfjall captures sounds not at all far removed from the dark ambient drones of performers like Thomas Köner or Mick Harris -- there's the same aspect of deep, captivating meditation, at once fascinating and unsettling. Kirkegaard doesn't rely on simply presenting moments and being done with it, however, introducing sudden edits that shift between one cryptic stretch of sound and another, at other points carefully layering or seguing between elements. Sometimes the results are almost mechanistic, the sputtering noises beginning 'Nerthus' turning into the world's most in-need-of-repair motorcycle. At other times he uses the sounds to suggest other natural phenomena, a building howl of noise coming across like a wind tunnel in a cool deep hell. Another reference point would be Robert Hampson's work in Main, given the clattering, echoed arrhythmia Kirkegaard showcases on cuts like 'Gaea' and 'Aramaiti.' But this ultimately is its own beast, a combination of using available technology and the ground under our feet to create something moving and mysterious. The sense that not even our seemingly solid ground is all that, after all, is an unsettling one.

More...", "This one-off disco outing was recorded by Don Ray, an arranger who is best known for his work with disco dons like Alec R. Costandinos and Cerrone (who produced this LP and also co-wrote many of the songs). It is a slick, ornate slab of Eurodisco that infuses its lavish orchestrations and pulsating rhythms with a layer of Kraftwerk-style programmed synthesizers. 'The Garden Of Love' is best known for the two club classics it produced: 'Got To Have Loving' is a relentless dance track that alternates pounding rhythms with staccato bursts of horns and tribal drum breaks straight off a glam rock record while 'Standing In The Rain', my fave and presented here, is a hypnotic midtempo track that pushes the programmed synthesizers to the forefront and effectively contrasts a horn-laden chorus and despairing vocal harmonies with ethereal synthesizer-dominated instrumental breaks. Both songs got extensive exposure in discos at the time and remain cult favorites among disco fans today. ", "Not a wealth of information about Oliver Jones. This is a classic postwar blues piece from early 1955, in the same vein as 'Shake, Rattle and Roll. Of significance here is the label that produced this wonderful record. Gee was a subsidiary formed in late 1954 by George Goldner as a direct result of his success with the song 'Gee' on his Rama imprint. The first twelve releases were predominantly blues, latin and gospel records. I'm not sure of the business arrangement, but suddenly in 1955, the label color changed from yellow and green to the more familiar red and black, the number series restarted at 1000, and the label regrouped to become one of the most influential NYC R&B labels in history. Gee started the careers of Frankie Lymon and the Teenagers (Why Do Fools Fall In Love) and the Regents (the original Barbara Ann, providing a model for the Beach Boys) and hosted countless others from the Cleftones, the Harptones and the Heartbeats. . The first twelve releases are all exceedingly difficult to find and as far as I know, none have been reissued anywhere. ", "A bizarre B-side to a jazz 45, who can explain this record? ", "Now a very sought after record, this is famous for being an early band of William Tucker, guitarist with many Wax Trax neo-industrial bands such as Ministry, the Revolting Cocks and Pigface. I picked up a copy of this for a couple of bucks back in 84, about a year after it came out. I was immediately wowed by the insane and amazing guitar work. But this track is the one that was in constant rotation on my radio program for several years. The opening drums are now a ringtone on my phone...", "Amazingly, Darlene Love, a superb vocalist, hasn't had much of a track record as a solo singer, at least not in terms of hits. Love was a founding member of the Blossoms in 1957. They did several sessions and were resident singers on the television show Shindig. Love sang lead vocals on 'He's a Rebel,' which was credited to the Crystals, and 'Zip-A-Dee-Doo-Dah,' which was issued as Bob B. Soxx and the Bluejeans. She cut six singles for Spector's Phillies label, with 'Wait Till My Bobby Gets Back Home' the most successful. Love became busy as an actress, but reunited with Spector for the 1977 single 'Lord, If You're a Woman.' Love appeared in all four Lethal Weapon films, and was also in the Royal Shakespeare Company's co-production of Stephen King's Carrie. Her 1990 LP, Paint Another Picture, failed to chart in America. Love later toured as a background vocalist with Cher. She appeared briefly on the soap opera Another World in 1993. ", "The Wrens were one of the best of the dozens of R&B vocal groups who recorded in the mid- to late '50s for George Goldner, signed to his Rama and Gee labels in the wake of his success with 'Gee' by the Crows. Lead singer Bobby Mansfield, George Magnezid (tenor), Francis 'Frenchie' Concepcion (tenor), and James 'Archie' Archer (bass) first started singing together in 1954 at a community center in the Bronx, NY. There they were spotted by Fred Johnson, a promoter who organized local talent shows, and he offered to manage the quartet. The Wrens were known best for their smooth, elegant harmony singing, which elevated both their ballads and their jump numbers above much of the competition. They sang R&B, but it tended more toward mature ballads and serious jump songs, rather than teen novelties.

Johnson got the group an audition with George Goldner's Rama Records and a recording contract followed late in 1954, with the group's first session taking place on November 21 of that year. Fred Johnson played piano behind them on that session and Goldner produced; in later recordings, legendary saxman Jimmy Wright led the band that backed them up. The group's first released single was 'Love's Something Made for Two' b/w 'Beggin' for Love,' (the flip was re-released as a flip to the single presented here, and is also prented here as well) featuring Mansfield and Concepcion, respectively. It was their second single, 'Come Back My Love,' however, that achieved some local popularity in New York early in 1955 and put the Wrens on the map for R&B vocal fans. The Wrens' records also had a hard edge from Wright's sax and the bold sound of the Rama house band under his leadership.

Goldner issued a total of six singles by the Wrens, but they never enjoyed a bigger hit than 'Come Back My Love,' which became their signature song despite competition from a cover version done by the Cardinals on Atlantic that same year (slao presented here). By 1956, however, Bobby Mansfield had split off from the group for a solo career, during which he made some records for Goldner with the Supremes (the male R&B vocal group, not the Motown trio) backing him. The Wrens disappeared into the mists of R&B vocal group history, while Mansfield remained active into the 1990s, even recording with a new group of 'Wrens' in the middle of the decade. The original Wrens all lived long enough to see themselves inducted into the United Group Harmony Association's Hall of Fame in 1998. ", "'The Speak-Up Mambo (Cuentame)' was Al Castellanos' first big hit with Mardi Gras, a precursor to his great tongue-twister (or speed vocal), 'Merengue Ta-Ka-Ta.' The album of the same name is one the label's best, spawning this hit 45 in 1952, and Castellanos does equally well with cha cha chas (check out 'Together 1-2-3' if you eer come across that record!), mambos, and merengues in equal parts. Covered by (at least) the Manhattan Transfer and Brave Combo, this is a classic, and the best version, in my opinion, is this original.

Sing along, if you please: (It's infectious. Try it...)

[Intro:]
IOA IOAE, IOA IOAE (Pronounced e-oh-ah, e-oh-ah-a)
IOA IOAE, IOA IOAE

Cuentame que te paso
Cuentame que te paso

Que estaba alla en la playa
Recorriendo las aguaritas
Y vino una abejita y me pico ay ay!

Cuentame que te paso
Cuentame que te paso

Yo me saque la loteria
Corriendo fui de romeria
Y fue alli donde to el dinero perderi

Pero las dos vienen las dos pao pao

Pao pao pao pao pao (chiquita)
Pao pao pao pao pao (senorita)
Pao pao pao pao pao

Pero las dos vienen la colococota
E La la la la la la la la la pao pao

Pao pao pao pao pao (chiquita)
Pao pao pao pao pao (senorita)
Pao pao pao pao pao

Woo-ooh!", "A pop/rock performer who leaned very heavily toward the pop side of that designation, Frank Sinatra's daughter, Nancy, enjoyed a brief run of superstardom between 1966 and 1968. Not nearly the vocalist her father is, the family name didn't hurt her advances in the business, nor did the fact that she recorded for Frank's label, Reprise. Her first few singles met with little success, and Nancy was on the verge of being dropped when she hooked up with producer Lee Hazlewood and arranger Billy Strange. They urged her to lower her voice and toughen her delivery, and crafted material emphasizing growling bass lines and go-go tempos. One of their first efforts, the 1966 single 'These Boots Are Made for Walkin',' topped the charts, inaugurating a series of hits over the next couple years, the biggest of which were 'Sugar Town,' 'Lightning's Girl,' 'Love Eyes,' and her number one hit duet with her father, 'Somethin' Stupid.' No one could advance serious claims for Nancy as a significant artist, and her unabashedly pop output was certainly at odds with the innovations setting the worlds of rock and soul afire in the psychedelic era. But they were fun, and her best singles are good listening, capturing the most lightweight period charm of the Top 40 of her time.

Nancy's singles were as notable for their distinctive arrangements and the odd, brooding compositions of Lee Hazlewood, who wrote most of her hits. Specializing in oddly disquieting songs with a sort of modern Western theme, Hazlewood teamed up with Sinatra for a few duets that presented the chalk-and-cheese combination of Nancy's thin voice with Lee's gravelly, almost spoken delivery, which recalled an off-kilter Johnny Cash. The team actually managed a few hits, some of which, especially 'Some Velvet Morning,' presented here, rank as some of the most bizarre Top 40 pop hits of all time. Nancy didn't enter the Top 40, with or without Hazlewood, after early 1968. Sundazed embarked upon an extensive Nancy Sinatra reissue series of her original albums. Sinatra returned to the studio in the early 2000s, and released a high-profile, eponymous album for Sanctuary that united her with admirers including Morrissey, Jon Spencer, Pete Yorn, and Caliexico.

Check out the Divas Primer Page. ", "This is a split release between individual contributors of the Dutch bands Goem and Kapotte Muziek. ", "thefatrooster", "hungryhippo1970", "This is a side project from the famous German band, Cranioclast, and is presented in a flat iron frame chassies, holding the sleeve and CD wrapped ina paper belt. These are site recordings performed with no post-processing.", "Touch Records cassettes were famous for their collections of incredible world music. This is no exception. Presented here are excerpts from the cassette.", "20th century French composer Luc Ferrari has been a major contributor to musique concrete for several decades. In the late 1950s, he began collaborating with the 'Groupe de Musique Concrete' (a relationship which lasted until 1966) and helped Pierre Schaeffer found the 'Groupe de Recherches Musicales,' a group and studio dedicated to the electronic medium where Iannis Xenakis and Karlheinz Stockhausen could also be found.

As a student, Ferrari had studied composition with Arthur Honegger and piano with Alfred Cortot until 1950. Around 1953, he studied musical analysis and modal theory under Olivier Messiaen. In the mid-50s, after hearing a live radio broadcast of Varese's Déserts for tape and orchestra, Ferrari visited NY to meet the composer, and talked of approaches for thinking about sound and the placement of sound objects, among other ideas. By the early '60s, Ferrari had created Hétérozygote, a musical tale told by ambient sounds. From the mid to late '60s, he was Professor of Composition at a music school in Cologne, after which he went to Stockholm and taught experimental music. Following this, he spent a year in Berlin and then served as music Director of the Cultural Center of Amiens. In addition to composing, Ferrari also produced invaluable television films during the '60s about the rehearsal processes of Messiaen, Varése, Stockhausen and others. By 1970, he had finished the 'musical photography' piece, Presque Rien No. 1 which made quite an impact when it was released (on Deutsche Grammophon LP), as there were no apparent 'musical' sounds. Instead, it demonstrated that music was, indeed, all around us (as John Cage said) by using ambient sounds of a Yugoslavian village, zooming in and out on particular sound sources.

Ferrari founded his small elecronic studio, 'Billig,' in 1972. The end of the '70s found him teaching composition at the Conservatory of Pantin. In 1982, he founded 'La Muse en Circuit,' an electroacoustic and radiophonic-friendly studio near Paris. It was also this year that he completed his musical theatre piece, Journal intime. The musical was successfully staged in Paris in 1989. By this time, Ferrari had won various awards, including the Prix Italia (1987; for a symphonic tale, Et si toute entiere maintenant), the Karl Sczuca prize for a radio play (Je me suis perdu ou labyrinthe-portrait), and the 1988 Grand Prix National from the French Ministery of Culture, for his body of work. In the '90s, Ferrari also received the International Kossevitzky Prize for his three movement symphony Histoire du plaisir et de la désolation, which is found on Luc Ferrari matin et soir. Recordings of Ferrari's work are found on various high quality labels including BVHaast, Sub Rosa and Tzadik, which released his Cellule 75 in 1998. Ferrari remained active as a composer until his death August 22, 2005. ", "A very obscure 3LP package of way underground spoken word and music tracks. ", "Brubeck needs no introduction to jazz and pop music fans alike. So I won't bother. I chose this piece because of the wonderful drum interlude.", "After spending a number of years playing with Silver Apples, multi-instrumentalist Xian Hawkins struck out on his own as a one-man bedroom recording project under the moniker of Sybarite. Through his use of mid-tempo electronic beats with an inspiration of classical music, Emanate Records released Sybarite's debut single, entitled Meusic, shown here, in 1999 which was shortly followed by the Otonomy EP through Static Caravan Records in 2000. That same year, Temporary Residence Limited put out Sybarite's first full-length, Musicforafilm, while ZEAL followed in 2001 with the 7' single 'Engaged'/'Without Nothing I'm You.' Sybarite, of course, landed on the 4AD imprint, and lived happily ever after...", "A beautiful, legendary and hyper rare compilaton, this was unavailable almost from the day it was released. Somehow, I managed to scam a copy on a fluke from a mail order company. Wonderful stuff!", "An incredible ten-inch compilation with 25 short tracks by artists such as RLW, Nurse with Wound, Konstruktivits, Illusion of Safety, and lots more. .", "Sailcat was a Southern rock band who had a chart and radio hit in 1972 with 'Motorcycle Mama.' The single's success (it reached number 12 on the Billboard singles chart) led to appearances on American Bandstand and at Carnegie Hall. Sailcat released a self-titled album in 1972 for Elektra that featured many of the heavy-hitters in the Southern rock field such as Chuck Leavell, the Memphis Horns, and Pete Carr. Soon after releasing the album, Sailcat broke up. Sailcat leader Johnny Wyker, who had been a member of the Rubber Band who recorded the original version of 'Let Love Come Between Us,' later a hit for James and Bobby Purify, went on to play with many of the great Southern rock musicians like Eddie Hinton, Dan Penn, Delany Bramlett, among others. He also worked on a benefit project called The Mighty Field of Vision Anthem, a group dedicated to raising funds for musicians who have fallen on hard times." )