A Guy Called Gerald: Voodoo Ray EP

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Rham! 1988.   RS8804

Discogs

I’ve never been much into clubbing, so the whole acid house thing from the late 80s largely passed me by, but on the few occasions I did go, this made the whole thing worthwhile.  It’s also one of the few tracks from that era that works as well at home as it does in a club when you’re up to your eyeballs in illegal stuff.

If you’ve been following this blog, you’ll already know that I’m very much into Gerald’s stuff.  He transcends the genre he works in – that this is a kind of proto-acid house record is really irrelevant.  It’s a Gerald record and he’s a giant of electronic music of the minimal type I usually go for.

This is the original issue of the track, not the clumsy remix which bothered the lower reaches of the charts a year later.  Legend has it that it was called Voodoo Ray because the intended title Voodoo Rage wouldn’t fit on Gerald’s sampler; it missed the last syllable and became Ray.  No idea whether that’s true, but it’s more plausible than the other legends surrounding the track which circulate about Gerald hiding from exploding interest from clubs and radio stations behind his anonymous moniker and a job in McDonalds.

According to Warp who re-issued this as part of a superb compilation of tracks which had influenced the formation of the label, the master tapes are lost, but looking this up on Discogs, it seems it had a CD issue, although that seems unlikely.  Whatever the truth of this, the Warp CD was mastered using a vinyl copy in worse condition than mine…

Go-Kart Mozart: New World In The Morning

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West Midlands Records 2012.  GLUM2

Discogs

Another post about the eccentric ex Felt frontman, Lawrence, this time his third band, Go-Kart Mozart.  When Lawrence disbanded Felt, he started making music in a very 70s kitsch style kicking off with Denim’s first album Back In Denim.  Since then, he’s been ploughing a very similar furrow with mixed results.  I really think it’s time he moved on, but Lawrence’s artistic motivations are always hard to fathom.

This is a 7″ single which appeared at Record Store Day last year, so is already deleted.  The A side is lifted from the Lawrence biopic Lawrence Of Belgravia and is a cover of New World In The Morning, originally recorded by whistling housewives’ favourite of the 70s, Roger Whittaker.   It’s easy to laugh at Roger Whittaker, but this is actually a pretty good song and it works well with Lawrence’s 70s stylings.  The B side is nuts even by Lawrence’s standards; it takes longer to say the title Gizmos, Gadgets, Unrock, Electric Guitar Clock Tick Tock than it does to play the track which clocks in at only 1 minute.  Actually very short songs are something Lawrence has explored before to good effect – pop music should use them more.  No repetition and verse/chorus/verse structures to bore you – just a quick romp through and end.  What this song is about is anyone’s guess, but Lawrence always had a knack for making strings of nonsense sound good.

Various Artists: Never Mind The Jacksons… Here’s The Pollocks

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Abstract 1985.  12 ABS 030

Discogs

A rare excursion into slightly gothy territory which isn’t usually my thing, but I’ve always rather liked this compilation. The Three Johns are always reliable, and the Bomb Party have a really dirty Cramps sound which works well.  It’s old enough for the New Model Army track to be worth a listen, and there’s an appearance by Five Go Down To the Sea? whose Creation 12″ I’ll post at some point.  According to discogs three of the tracks are Peel sessions, including the rather out of place Joolz spoken word piece the album ends with.

I bought this second hand and it’s a bit crackly I’m afraid.  Still, that’s vinyl for you.

Cathode: Chad Valley

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Static Caravan 2002.   Van46

Discogs

This is a great example of bedroom lo-fi electonica from Newcastle’s Cathode, aka Steve Jefferis.  I’m a sucker for this kind of thing, and Static Caravan is a reliable purveyor of the genre, usually on nicely packaged 7″ singles.

This is more musical than is often the case with these things, but it has the usual glitches, pops and crackles, off-the-wall sounds and distorted melodies and all sounds pleasingly fragile.

More info and a few free downloads at his web site.

Various Artists: Folds and Rhizomes for Gilles Deleuze

Various - Folds And Rhizomes For Gilles Deleuze

Sub Rosa 1995.  SR99

Discogs

The second of three tributes I have to the French philosopher Gilles Deleuze from the electronic music community (The first is here).  This one is slightly different as it was put together while he was alive as a present, but Deleuze committed suicide before the release.  The label, Sub Rosa feels a similar sense of affinity with Deleuze as Mille Plateaux, and the artists they present are similar: only Main and David Shea don’t appear on the Mille Plateaux tribute.

The title of the album refers to a philosophical concept Deleuze developed which fits well with the music presented.  It deals with the idea of culture being a complex web of inter-relationships rather than a hierarchical structure.  This makes it resilient because breaking or damaging parts of it has no impact because there are other connections linking the same places, but it also rejects the idea that you can trace culture back to a “root”.

Other than that, I can only repeat what I said last time – the music is from the intellectual end of 90s electronica, and is essential listening if you’re into that kind of thing.  All the tracks here are exclusives.

Heidi Berry: Firefly

Heidi-Berry-Firefly-287921

Creation Records 1987.  CRELP023

Discogs

I seem to be putting much more Creation stuff on this blog than I expected.  This is Heidi Berry’s debut which was rather out of place on the label with it’s resolutely folky style.  She was (Loft/Weather Prophets frontman) Peter Astor’s girlfriend which I guess had something to do with it, but the quality, if not the style is certainly worthy of the label.  The usual comparisons are Sandy Denny and Nick Drake, and while her work doesn’t scale the heights they managed, it gives a good idea what to expect.

After this and a full length LP for Creation, she signed for 4AD which was slightly more appropriate for her than Creation, but still an odd place for a folk singer to end up.

I’m slightly cheating here.  I don’t have the album as linked to above – Firefly was included as bonus tracks on the CD release of her next Creation album, but I’ve separated them because they work better that way.

Surprisingly given how long it’s been since she released anything, you can still get a rather nice retrospective called Pomegranite, but her regular albums are more-or-less worthless second hand.

Various Artists: Monsters, Robots & Bugmen

Various - Monsters, Robots and Bugmen

Virgin Ambient 1996.  AMBT11

Discogs

Another compilation in Virgin’s superb ambient series, this one dealing with the new, at least back then, genre of post rock.  As is always the case with this series, they do a good job, although it can be a jarring listening experience because of the diversity of post rock.  In fact the sleevenotes give different possible running orders which you could use depending on your mood.  Did anyone bother?

Unusually there are no exclusives here, although most of the tracks are now unavailable 17 years after the event.  I’m surprised that I’ve posted none of the artists here before – many of them will appear later.

Highlights for me are Flying Saucer Attack, Ui, Stereolab, Labradford and Third Eye Foundation.

 

The Normal: Warm Leatherette

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Mute Records 1978.  MUTE001

Discogs

A few days ago, I posted the first ever 4AD release, and today it’s the start of another iconic label, Mute.  Unlike The Fast Set, this is not only a great single, it was really groundbreaking and its influence was huge.  The Normal is actually Daniel Miller, founder of Mute so it’s a surprise that this was his only release.   What it has in common with the Fast Set is primitive electronics and, as a result, a record very much of its time.

TVOD was actually the A side, but I’ve ripped it the other way around because it was Warm Leatherette which got the attention and airplay, and which appears on the front cover.  The song is based on JG Ballards novel Crash, since filmed by Cronenberg, which Miller wrote an unfinished screenplay for, and explains the Motor Industry Research Association cover of crash test dummies being, well, crashed.

The music is utterly minimal, repetitive, sinister and robotic.  It packs a punch now – what must it have sounded like in 1978?  I’m afraid I’m too young to have bought it back then…

According to Discogs, my copy is a first pressing, and it looks it.  It has a rough textured label and those serrations around the label so you could pile lots of singles on an autochanger.  Truly from another age.

Holger Czukay: Movies

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Spoon Records 1979. SPOON CD 35

Discogs

Another album I’m surprised to be posting – this really should be available.

Holger Czukay was Can’s bassist, and this was his first solo album.  I was sent it by The Wire magazine for getting a letter published, which created a bit of an odd relationship with it.  At first listen it sounded too kitsch for my taste – the opening track, Cool In The Pool just seemed silly.  I gave it less of a chance because I’d never decided to buy it, although anything connected to Can is always worth a go at Vinyl301 towers.  As time went on I started to get it.   It’s based very heavily on sampling, but back then there were no samplers, so like John Oswald, he had to splice bits of tape in a very laborious process.  The samples come from bits of film, short wave radio broadcasts and TV, overlaid with manipulated guitars and vocals, but unlike the assault on the eardrums John Oswald produces, this is funky.

The highlight for me is the third track, Persian Love which takes a Persian song recorded on short wave radio which it manipulates and overlays with more guitar work.  This sort of trackis commonplace now, but back then it was totally new, so Czukay isn’t following the rules.  There’s no thumping dance beat plonked clumsily on top – he’s made a new band incorporating the unknown singer which makes for a slightly unsettling listening experience.  It sounds like a coherent musical unit, and yet the vocals are obviously coming from another place entirely.  Genius.

More listening: well if you’re not familiar with Can, it’s time you were.  Tago Mago and Ege Bamyasi are good places to start.

The Pooh Sticks: Dying For It

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Fierce Records 1989.  FRIGHT 034

Discogs

Another rare indie 7″, but a good one this time.  The Pooh Sticks had moved on by 1989 from being a terrible band with a great sense of humour into an outfit who could actually make decent records.  This is a cover of a Vaselines song (Nirvana also had a strange penchant for this obscure Scottish band which gave them some infamy).  OK, so Hugh still can’t sing, but they’ve either learnt to play or have hired someone who can because this single really rocks with loads of distortion and wah-wah.  Actually, the only person who can play is the lead guitarist – the rest is as bad as ever, but the overall effect works for me. It’s not much of a hi-fi experience though….

Fierce were keen on selling records for a lot of money with very little music on them – this one didn’t cost too much but is one sided, so only 1 track.

I found a delightful letter from Hugh inside.  Fierce were mainly mail order, so some sort of correspondence was inevitable:

letter

Google analytics means I can do scary e-stalking of people who come here.  Well, that’s a bit of an exaggeration, but I did discover that the band have linked to this blog from their facebook page. I guess that means they’re not hacked off with me posting their deleted material which is good to know.