Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from January 5, 2023
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Description: Exuberance/Ebullience, banter, possibly an interview, context and connection, the familiar, the strange.
Find: Symphonies of Treble, Words Of Expectation, stab, skronk, shimmer, sheen, The New Sound of Now, Ideas for Walls, pleasure, pith, Flutter and Wow, Motorik, cowbells, disco akimbo, at least one Cantankerous Singer, The German Language, shards of glass, Ethiopian Punk, organic, synthetic, sawtooths & squarewaves, Library Riffage, yesterday's recipes, the wrong speed, intentional static, floating, ethereal, time and timelessness.
Thursday
8 - 10pm
(EST)
|
On
WFMU's
Sheena's Jungle Room
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| Artist | Track | Album | Label | Year | Comments | Approx. start time |
|---|---|---|---|---|---|---|
Music behind DJ: Sounds of the Ocean |
Beach Sounds
|
Ocean Sounds |
Sounds of the Ocean |
2016 |
0:00:00 (Pop-up) |
|
| The Specials |
(Dawning Of A) New Era - Live at Paris Theatre
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The Specials (Deluxe Version) | Chrysalis Records | 2015 | This version was recorded live in Dec 1979 at the Paris Theatre. Specials were from Coventry and Jerry Dammers built a band to reflect the city's identity as a working class society that welcomed Jamaican culture, including Ska music. The Specials created a new kind of music, mixing punk attitude with Carribean culture with a focus on political topics, inequality, poverty and racism. They are one of the most important bands of the 70's and this is indeed, one of the most important releases of 1979 | 0:00:18 (Pop-up) |
Music behind DJ: Throbbing Gristle |
Beachy Head
|
20 Jazz Funk Greats |
Industrial Records |
1979 |
"Recorded at the Studios of Industrial Records in the weeks ending September 3rd, 1979." Bass Guitar [Bass Guitars], Violin, Vibraphone [Vibes], Synthesizer [Synthesiser], Vocals – Genesis P-Orridge //////// Lead Guitar [Satellite Lead Guitar], Guitar [Gizmo Guitar], Synthesizer [Synthesiser], Cornet, Vocals – Cosey Fanni Tutti //////// Synthesizer [Roland Synthesisers], Sequencer [Sequencers], Percussion [Rhythms], Vocals – Chris Carter //////// Tape, Vibraphone [Vibes], Cornet, Vocals – Peter Christopherson //////// "20 Jazz Funk Greats is the third studio album by British industrial music group Throbbing Gristle, released in December 1979 by the band's label Industrial Records. It is known for its tongue-in-cheek title and artwork, and has been hailed as the band's best work, with UK magazine Fact naming it the best album of the 1970s, and Pitchfork naming it the best industrial album of all time. //////// 20 Jazz Funk Greats is the band's first full studio album, as prior albums contained both live and studio recordings. The production is credited to "Sinclair/Brooks". The album was recorded on a 16-track borrowed from Paul McCartney after Peter Christopherson had worked on artwork for McCartney. The album was produced using electronic musical instruments and effects units, primarily from Roland and Boss. //////// The album's cover photograph was taken at Beachy Head, a chalk headland on the south coast of England known as one of the world's most notorious suicide spots. In a 2012 interview, Cosey explained the album cover and tongue-in-cheek title: "We did the cover so it was a pastiche of something you would find in a Woolworth's bargain bin. We took the photograph at the most famous suicide spot in England, called Beachy Head. So, the picture is not what it seems, it is not so nicey nicey at all, and neither is the music once you take it home and buy it. We had this idea in mind that someone quite innocently would come along to a record store and see [the record] and think they would be getting 20 really good jazz/funk greats, and then they would put it on at home and they would just get decimated."" |
0:02:55 (Pop-up) |
| Public Image Limited |
Memories
|
Metal Box / Second Edition | Virgin | 1979 | PiL's 'Metal Box' [aka 'Second Edition'] (w/ ex-Sex Pistols lead singer John(ny Rotten) Lydon; & 'London Calling', by The Clash are excellent examples of my fascination of the year 1979. Sex Pistols and The Clash made "Punk Rock" famous, and brought it to the mainstream. But through 1977 & 1978, the form & function of punk rock as a genre was fairly straight-ahead. Of course there were exceptions, but by-and-large, most would be able to agree what Punk Rock and their punk-rock heroes sounded like. Double albums by the Ex-Sex Pistols lead singer & also by The Clash, both of which abandoned all the hallmarks of their previous style, understandably outraged many of their devout followers. It arguably also expanded the scope of music to come. Punk had already proven anyone could pick up instruments, learn on the fly, "do it yourself" & find a way to release it with or without major label support. The PiL & Clash 1979 double albums, however, proved that you could play proficiently, learn any style, and push any envelope when-so-ever you choose. In the case of Metal Box / Second Edition, it also proved that you could make a new world, all your own, drawing from whatever elements you desire (ie. Dub, Classical music. Avant Garde, etc.) "Levene recalls that "Memories" features him playing "this normal Spanish guitar thing that goes dun-da-da-dun da-da-dun... it's one of the first things I learned to play on guitar, very simple. I was very fond of that [...] I just had the guitar going through an Electric Mistress. [aka a flanger]"" | 0:10:02 (Pop-up) |
| The Clash |
London Calling
|
London Calling | CBS Records | 1979 | The third album from The Clash, a double, that found them completely sidestepping the confines of Punk, a movement that they helped define. Now considered one of the greatest albums on many lists, many of their fans were inititially confounded, if not angered, by the new direction. As for the title song... From the Songfacts (1979 page): "This is an apocalyptic song, detailing the many ways the world could end, including the coming of the ice age, starvation, and war. It was the song that best defined The Clash, who were known for lashing out against injustice and rebelling against the establishment, which is pretty much what punk rock was all about. //////// Joe Strummer explained in 1988 to Melody Maker: "I read about 10 news reports in one day calling down all variety of plagues on us." Singer Joe Strummer was a news junkie, and many of the images of doom in the lyrics came from news reports he read. Strummer claimed the initial inspiration came in a conversation he had with his then-fiancee Gaby Salter in a taxi ride home to their flat in World's End (appropriately). "There was a lot of Cold War nonsense going on, and we knew that London was susceptible to flooding. She told me to write something about that," noted Strummer in an interview with Uncut magazine. //////// According to guitarist Mick Jones, it was a headline in the London Evening Standard that triggered the lyric. The paper warned that "the North Sea might rise and push up the Thames, flooding the city," he said in the book Anatomy of a Song. "We flipped. To us, the headline was just another example of how everything was coming undone." //////// The title came from the BBC World Service's radio station identification: "This is London calling..." The BBC started using it during World War II to open their broadcasts outside of England. Joe Strummer heard it when he was living in Germany with his parents. >> The line "London is drowning and I live by the river" came from a saying in England that if the Thames river ever flooded, all of London would be underwater. Joe Strummer was living by the river, but in a high-rise apartment, so he would have been OK. //////// //////// The line about the "a nuclear era, but I have no fear" was inspired by the Three Mile Island nuclear reactor meltdown in March 1979. This incident is also referred to in the lyrics to "Clampdown" from the same album. //////// The Clash wrote this song in 1979 on their first US tour, then recorded it after returning to England. The band was intrigued by American music as well as its rock'n'roll mythology, so much so that the album cover was a tribute to Elvis Presley's first album. //////// This was recorded at Wessex Studios, located in a former church in the Highbury district of North London. Many hit recordings had already come out of this studio, including singles and albums by the Sex Pistols, The Pretenders and the Tom Robinson Band. Chief engineer and studio manager Bill Price had developed a slew of unique recording techniques suited to the room. //////// Fellow punk band The Damned were recording overdubs to their album Machine Gun Etiquette in the studio, and as they were old touring buddies of The Clash they roped Strummer and Mick Jones into record backing vocals for the title song to their album - the shouted lines of "second time around!" in that song are actually Strummer and Jones in uncredited cameos. //////// At the end of the song, a series of beeps spells out "SOS" in morse code. Mick Jones created these sounds on one of his guitar pickups. //////// The SOS distress signal has often been used metaphorically in songs (like the 1975 Abba song), but in "London Calling" it's more literal, implying that the disaster has struck and we are calling for help. //////// London Calling was a double album, but it wasn't supposed to be. The band were angry that CBS had priced their previous EP, The Cost of Living at £1.49, and so in the interests of their fans they insisted that London Calling be a double LP. CBS refused, so the band tried a different tactic: how about a free single on a one-disc LP? CBS agreed, but didn't notice that this free single disc would play at 33rpm and contain eight songs - therefore making it up to a double album! It then became nine when "Train in Vain" was tacked on to the end of the album after an NME single release fell through. "Train" arrived so late on that it isn't on the tracklisting on the album sleeve, and the only evidence of its existence is a stamp on the run-out groove and its presence on the end of side four. So in the end, London Calling was a 19-song double-LP retailing for the price of a single! /////// According to Mick Jones, his guitar solo was played back backwards (done by flipping over the tape) and overdubbed onto the track. //////// The lyrics contain an observation about how society often turns to pop music to make them feel better about world events, and how The Clash didn't want to become false idols for folks looking for escapism. This can be heard in the line, "Don't look to us - phoney Beatlemania (a reference to The Beatles' massive fanbase in the '60s) has bitten the dust!" (Mick Jones said the line was "aimed at the touristy soundalike rock bands in London in the late '70s.) //////// There's also a subtle reference to Joe Strummer's brush with Hepatitis in 1978 with the mention of "yellowy eyes." //////// Authorship of this song was credited to Joe Strummer and Mick Jones, but at some point the other two members of the band, Paul Simonon and Topper Headon, were added." | 0:15:21 (Pop-up) |
| Talking Heads |
I Zimbra
|
Fear Of Music | Sire | 1979 | Far from the herky/jerky quirky pop & talk/sing narrative story telling that Talking Heads were famous for to that point, 1979's I Zimbra starts off with an African-Highlife template set to dadaist lyrics. From Songfacts (1979 page): "The lyric is based on a 1916 sound poem called "Gadji Beri Bimba" by the German poet Hugo Ball, who was a big name in the Dada art movement. The Talking Heads were steeped in art history, but it was their producer, Brian Eno, who suggested they adapt the poem to chant over the track they created using African percussion rhythms augmented by synthesizers. Eno came up with similar sounds for his 1974 album Taking Tiger Mountain (By Strategy). //////// Dadaism was a literary and artistic movement developed between 1915 and 1922, born of reaction and disillusion during World War 1. In 1916 Hugo Ball founded the Cabaret Voltaire night club in Zurich. Events there proved pivotal to the spread of the movement, which aimed to question established artistic rules and values by provoking outrage. Eno, Byrne and Ball are the credited writers on the song. //////// This song started as an instrumental based on a form of music popular in Nigeria called highlife, mixing in elements of disco, something many rock bands were loathe to do at the time. "We were rock musicians who were looking for a way out of what had become a very predictable formula for playing and performing rock and roll," Heads drummer Chris Frantz wrote in his memoir Remain In Love. "The African music we liked had the energy and the passion of rack and roll, but with one big difference: It was not based on Chuck Berry Licks." //////// Robert Fripp, best known for his work in King Crimson, added guitar on this track at the suggestion of producer Brian Eno, who had worked with him on an experimental album called No Pussyfooting. Fripp had developed a method called "Frippertronics" that he used to process his guitar through effects units. This became a popular live song for the band when they toured in 1980, adding five additional people to their lineup: Adrian Belew (guitar), Nona Hendryx and Donette McDonald (vocals), keyboardist Bernie Worrell (keyboards) and Steven Scales (percussion). When Songfacts spoke with Hendryx in 2012, she said of this song, "That's a great one. The whole sort of the feel of that and the motion, the rhythm that, well, it's just a cool rhythm. It's African, but Western and almost South American." //////// The lead track on the Talking Heads third album, "I Zimbra" set the tone for their next album, Remain In Light, which incorporated more African influences and elements of dance music. //////// Keyboardist Jerry Harrison has named this as his favorite Talking Heads song. //////// The drumming on this track is minimal, with Chris Frantz using only his bass drum and high hat. //////// The congas on this track came from a player named Gene Wilder (not the actor), whom David Byrne discovered in Central Park. He also played on "Life During Wartime." //////// The band performed this on Late Night with David Letterman in 1983. //////// David Byrne performed this in his 2019 Broadway play American Utopia. When it was adapted into a movie (directed by Spike Lee) the following year, he gives this intro, which offers some insight into the song: "I was familiar with a different Dada artist who also wrote nonsense poetry. His name was Kurt Schwitters, and he recorded one of these in 1932, it was called the 'Ursonate,' the 'primeval sonata.' Schwitters and others in this group were using nonsense to make sense of a world that didn't make sense." At this point, Byrne and company perform a short section of "Ursonate," which as advertised, is nonsense. He continues: "The world they were trying to make sense of was pretty crazy. There had recently been an economic crash, the Nazis were coming to power - this was 1932 - and quite a few of the countries they lived in were sliding into fascism. The Dada artist Hugo Ball said that their artistic aims were to remind the world that there are people of different, independent minds beyond war and nationalism who live for different ideals. Hugo Ball wrote the words to this next song."" | 0:18:31 (Pop-up) |
| The Stranglers |
Meninblack
|
The Raven | EMI | 1979 | The Stranglers "Formed as the Guildford Stranglers in Guildford, Surrey, in early 1974, they originally built a following within the mid-1970s pub rock scene. While their aggressive, no-compromise attitude had them identified by the media with the emerging UK punk rock scene that followed"... " //////// "In 1979, one of the Stranglers' two managers advised them to break up as he felt that the band had lost direction, but this idea was dismissed and they parted company with their management team. Meanwhile, Burnel released an experimental solo album Euroman Cometh backed by a small UK tour and Cornwell recorded the album Nosferatu in collaboration with Robert Williams. Later that year the Stranglers released The Raven, which heralded a transition towards a more melodic and complex sound which appealed more to the album than the singles market. The songs on The Raven are multi-layered and musically complicated, and deal with such subjects as a Viking's lonely voyage, heroin addiction, genetic engineering, contemporary political events in Iran and Australia and extraterrestrial visitors, "Meninblack". The Raven saw a definite transition in the band's sound. The Hohner Cembalet – so prominent on the previous three albums – was dropped and Oberheim synthesizers used instead whilst acoustic piano was used on "Don't Bring Harry". A harmonizer was used to treat Burnel's vocal on the track "Meninblack", the recording of which led to Martin Rushent, who had produced their earlier albums, walking out leaving the band to co-produce the album themselves with Alan Winstanley." /////// "The Raven, saw The Stranglers expanding both their musical prowess and subject matter that included the Iranian Islamic revolution, genetic engineering and heroin addiction. It also found The Stranglers first dealing with the idea of the Men In Black, aliens from another world who control the actions and fate of the human race. Factor in drugs, an unhealthy interest in Nostradamus, the occult and the apocalypse and The Stranglers were on the verge of collapse." //////// This experimental song provided the concept for their following album: "The Gospel According to the Meninblack (or sometimes referred to as just The Meninblack)... an esoteric concept album released in 1981 on the Liberty label. The album deals with conspiratorial ideas surrounding alien visitations to Earth, the sinister governmental men in black, and the involvement of these elements in well-known biblical narratives. This was not the first time the Stranglers had used this concept; "Meninblack" on the earlier The Raven album and subsequent 1980 single-release "Who Wants the World?" had also explored it." | 0:21:37 (Pop-up) |
Music behind DJ: Residents |
The Walrus Hunt
|
Eskimo |
Ralph Records |
1979 |
An early example of "Ambient" music, the term for a genre of music that had only been coined a year earlier by Brian Eno. Although music of that type had already existed, 1978's "Ambient 1: Music For Airports" set the template for what we see as a longstanding genre in this day and age. This Residents album is considered part of the Ambient genre. From the Residents Website (Eskimo page) [<-More info available at link...] "In 1979 "punk" music was all the rage. The Residents had gone though the punk stage three years earlier with the release of "Satisfaction" and were ready for anything that was not punk. //////// They decided it was a good time to make the jump into world music, since by their own calculations it would not become popular for several more years. They scanned the map for a proper culture to exploit and, not finding one, became discouraged until seeing a large Coke sign featuring Santa Claus. Immediately they realized they had overlooked the North Pole because it is made of ice and therefore didn't exist on their world map. //////// Immediately rushing out to a library, they gathered all the information they could find on Eskimos. What they found was a government-issued book on Eskimo sanitation, a book of Eskimo legends, and one scratchy record of someone hitting a drum and chanting. Not exactly the rich cultural vein they had hoped to mine. //////// But it was enough, for it set the Eyeballs spinning off into their own imaginary world of six-month nights, marimbas made of frozen fish, and Eskimo sex lives. For almost four years the ideas tumbled around. Sometimes they would feel elated at some new breakthrough, but usually they moaned that the album would not only make dreary listening, but be pretentious beyond belief. //////// But when it was finally released ESKIMO was a hit, both in sales and in reviews. Andy Gill of New Music Express said, "I'm not sure quite how to convey the magnitude of The Residents' achievement with Eskimo. What I am sure of is that it's without doubt one of the most important albums ever made, if not the most important, and that its implications are of such an unprecedentedly revolutionary nature that the weak-minded polemical posturing of purportedly 'political' bands are positively bourgeois by comparison." //////// He says this because the album tells the story, without relying upon words, of the assimilation of a ritualistic society into consumer culture. This story unfolds as Eskimo fables, a lived experience, set to the grinding of sound effects and music. It is a mind movie rich with detail. ESKIMO is, quite literally, a unique experience." |
0:26:21 (Pop-up) |
Music behind DJ: Residents |
Birth
|
Eskimo |
Ralph Records |
1979 |
From the Residents Website (Eskimo page) [<-More info available at link...] "Created over a period of three years (work began shortly after The Third Reich 'N' Roll was released), Eskimo was unlike anything anyone had heard before. Instead of an album made up of songs, The Residents produced a series of acoustic landscapes: each track is the sound of a story taking place, rather than the traditional song telling a story. The idea for the album is supposed to have come from the band's former collaborator, the Mysterious N. Senada, who had disappeared in the early 70s to search for music among the Eskimos (legend has it that he re-appeared during the making of the album with a tape of sound samples and a jar of arctic air to record). The Residents teamed up with drummer Chris Cutler and Don Preston (formerly a keyboard player for Frank Zappa's Mothers of Invention), as well as their regular collaborator, Snakefinger. Inspired by such pieces of pop culture as the famous Santa Claus Coca-Cola ads, The Residents set about inventing an anthropological background for their Eskimos which didn't bear much resemblance to reality, but instead was based on pop perceptions of the northern peoples (nevertheless, the USSR release was classified as a "cultural documentary"). Each track relates a story which was told in writing on the inside of the album's gatefold cover. The stories are progressively more complex and dig deeper into the fictional Eskimo culture, starting with a simple Walrus Hunt and ending with a confrontation with the spirit world and a Festival of Death celebrating the end of the six-month night. //////// The album shows, as did the mini-ballet Six Things to a Cycle on Fingerprince, the influence of Harry Partch. Like Partch, The Residents invented their own language and instruments. Most of the fake Eskimo tongue is made up of highly distorted English and is sung while breathing in to give it an alien texture. As the album progresses you can hear the slow invasion of American culture into the Eskimo lives as the Eskimo's spiritual leader, the Angakok, leads them in chants whose nonsense language becomes corrupted with phrases such as "Coca-Cola Adds Life"." |
0:30:21 (Pop-up) |
| XTC |
Helicopter
|
Drums and Wires | Virgin | 1979 | Drums and Wires is the third studio album by Swindon's XTC, released in 1979. XTC were noted for their energetic live performances and their refusal to play conventional punk rock, instead synthesising influences from ska, 1960s pop, dub music and the avant-garde. The band chose Steve Lilywhite to produce this record, based on his previous work with Siouxsie And The Banshees, and also cite Ultravox as an influence. This record is near perfection, and reviewers hailed it as "pure pop disguised as jittery post-punk, all played with teeth-chattering intensity". | 0:33:52 (Pop-up) |
| The Slits |
So Tough
|
Cut | Island Records | 1979 | Cut is the debut studio album by English punk band the Slits, released on 7 September 1979. It was recorded at Ridge Farm Studios in Rusper and produced by Dennis Bovell. Cut's mark has been noted on several musical movements. "A post-punk masterpiece", it paved the genre's direction alongside fellow 1979 releases the Pop Group's Y and PiL's Metal Box, and one of the first..and best meshing of punk with reggae influences...and paving the way for other, more mainstream and alternative acts to incorporate Reggae and Ska sounds. | 0:37:35 (Pop-up) |
| Blondie |
Die Young Stay Pretty
|
Eat To The Beat | Chrysalis Records | 1979 | Meanwhile...in New York..the sound of Reggae also permeated the punk scene. This song is also a feminist statement, with Debbie Harry singing about the pressures and expectations of maintaining her looks. She explained the dark lyrics to Mojo magazine in their May 2014 issue. “I sort of felt there were a couple of different meanings,” she said. “I mean, the value placed on beauty as being such a commodity and the only way to be eternally young was to die young and stay in people’s minds. It’s just the weirdness of human nature.” | 0:40:06 (Pop-up) |
| Nina Hagen |
African Reggae
|
African Reggae 7" | CBS | 1979 | Unbehagen is the second studio album by Nina Hagen Band, released in 1979 by CBS Records. It is the last album released by the band, before Nina Hagen decided to pursue a solo career. It features her spaced out vocals and amazing production to support them...with elements of dub, horns and steel drums. Never one to shy away from controversy...She became infamous for an appearance on an Austrian evening talk show called Club 2, on 9 August 1979, on the topic of youth culture, when she demonstrated (while clothed, but explicitly) various female masturbation positions and became embroiled in a heated argument with other panelists, in particular, writer and journalist Humbert Fink. The talk show host, Dieter Seefranz, had to step down following the ensuing scandal. | 0:43:37 (Pop-up) |
Music behind DJ: One Piano |
Escape (The Pina Colada Song)
|
Guardians of the Galaxy Vol. 1 |
One Piano |
2021 |
"Escape (The Piña Colada Song)" is a song written and recorded by British-born American singer Rupert Holmes for his album Partners in Crime. As the lead single for the album, the pop song was recommended by Billboard for radio broadcasters on September 29, 1979, then added to prominent US radio playlists in October–November. Rising in popularity, the song peaked at the end of December to become the final US number-one song of the 1970s. |
0:47:48 (Pop-up) |
Music behind DJ: Piano Dreamers |
Don't Bring Me Down
|
Piano Dreamers Renditions of ELO |
CC Entertainment |
2020 |
"It's a great big galloping ball of distortion. I wrote it at the last minute, 'cause I felt there weren't enough loud ones on the album. This was just what I was after." - Jeff Lynne "Don't Bring Me Down" is the band's second-highest-charting hit in the UK, where it peaked at number 3 and their biggest hit in the United States, peaking at number 4 on the Billboard Hot 100. It also charted well in Canada (number 1) and Australia (number 6). This was the first single by ELO not to include a string section. |
0:51:01 (Pop-up) |
Music behind DJ: Yann Nyman |
In The Navy (Arr For Piano)
|
Calm Instrumental Covers |
Classical Acoustica |
2022 |
"In the Navy" is a song by American disco group Village People. It was released as the first single from their fourth studio album, Go West (1979). It was a number one hit in Canada, Flanders, Japan and the Netherlands, while reaching number two in Ireland, Norway and the UK. In 1994, a remix charted at number 36 in the UK. "In the Navy" was the last top 10 hit for the group in the United States. |
0:53:26 (Pop-up) |
| Joy Division |
Disorder
|
Unknown Pleasures | Factory | 1979 | Unknown Pleasures is the debut studio album by English rock band Joy Division, released on 15 June 1979 by Factory Records. The album was recorded and mixed over three successive weekends at Stockport's Strawberry Studios in April 1979, with producer Martin Hannett. Hannett's production on Unknown Pleasures was "as much a hallmark as the music itself," describing it as "emphasizing space in the most revelatory way since the dawn of dub." Hannett, who believed that punk rock was sonically conservative because of its refusal to use studio technology to create sonic space,used a number of unusual production techniques and sound effects on the album, including several AMS 15-80s digital delays, the Marshall Time Modulator, tape echo and bounce, as well as the sound of a bottle smashing, someone eating crisps, backwards guitar and the sound of the Strawberry Studios lift with a Leslie speaker "whirring inside". Some members of the band found this distracted from the stripped down, angular sounds of the guitars...but millions disagree...this album is perfection in its sound and arguably,one of the most influential records ever. | 0:56:00 (Pop-up) |
| The Cure |
So What
|
Three Imaginary Boys | Fiction Records | 1979 | "Order now Allow twenty one days For deliver This offer closes 31st December 1979" These recordings are spare and simple-- just three guys in a room playing clean, clear lines and letting them ring. And yet everything snaps together like clockwork, from the ingenious songwriting to the precise performances to the decades-long thrill of Smith's voice. This is the simplicity of punk gone suddenly complex and spooky and sneakily psychedelic. Is this what a new wave Wire might have sounded like, if they were better musicians and smoked opium and were interested in being sexy? Is this what a new wave Joy Division might have sounded like if they went for dreamy, guarded neurosis over the whole raw-passion thing? It's not. It's just...The Cure. | 0:59:25 (Pop-up) |
| Siouxsie & The Banshees |
Playground Twist
|
Playground Twist 7" | Polydor | 1979 | From Join Hands, their studio album, originally released in September 1979 and produced by Mike Stavrou and Nils Stevenson. Record Mirror described the whole record as a dangerous work that "should be heard". NME's Roy Carr hailed the single and wrote: "If Ingmar Bergman produced records, they might sound like this. The listener is immediately engulfed in a maelstrom of whirling sound punctuated by the ominous tolling of church bells, phased guitars, thundering percussion, a surreal alto sax and the wail of Siouxsie's voice. It demands to be played repeatedly at the threshold-of-pain volume to elicit its full nightmarish quality". Goth? YES. | 1:01:55 (Pop-up) |
| The Contortions |
My Infatuation
|
Buy | ZE Records | 1979 | Meanwhile, in NYC...No Wave is in full swing. Skronky wailing saxes, tribal dadaist beats and lyrics of primal urges, a discomfiting racket indeed...and an artistic statement that is zeitgeist. Distressing to the palate at its inception but slowly undulating across the tongue, its taste would taint the 21st century, staining the lips of downtown luminaries like Lydia Lunch, Arto Lindsey, Ikue Mori, Glenn Branca, and Chance a holy purple that influenced the likes of Sonic Youth, Alan Licht, Flying Luttenbachers, Liars, Deerhoof, U.S. Maple, Xiu Xiu,Yeah Yeah Yeahs, and countless upstarts. | 1:04:54 (Pop-up) |
| MU66 |
Država
|
No Album Info | No Label Info | 1979 | Obscure Yugoslav Female Punk band from late 70's , early 80's similar to X Ray Spex or early Siouxsie. Serbia also had an early punk scene, starting in Novi Sad in 1978 it continued to grow rapidly until it expanded to Belgrade, the capital of Yugoslavia, with a slew of revolutionary bands referred to interchangeably as punk or new wave/novi val. Belgrade became the convergence point upon which the many movements of Yugoslavian punk overlapped and intersected, coming from as far away as Sarajevo or Ljubljana to meet for the first time. The vastness of the musical range in counter-culture Yugoslavia soon attracted interest from abroad and artists and intellectuals from the United States, like Jim Jarmusch and others, were known to spend time in Belgrade with artistic peers from Yugoslavia’s own movements. | 1:07:18 (Pop-up) |
Music behind DJ: Alegria Banda |
Rock Lobster
|
L'Esprit Feria |
Agorilla Music |
2010 |
According to a "Behind the Vinyl" video with B-52's singer Fred Schneider for CHBM-FM, the song was mostly inspired by a nightclub in Atlanta named 2001, where, instead of having a light show, the club featured a slide show with pictures of puppies, babies, and lobsters on a grill. |
1:08:36 (Pop-up) |
Music behind DJ: Saxlab Saxophone Quartet |
My Sharona
|
Radio Sax |
Association Studio Saxlab |
2019 |
"My Sharona" (/ʃəˈroʊnə/) is the debut single by the Knack. The song was written by Berton Averre and Doug Fieger, and it was released in 1979 from their debut album, Get the Knack. It reached number one on the Billboard Hot 100 singles chart, where it remained for six weeks, and was number one on Billboard's 1979 Top Pop Singles year-end chart. It has gone on to sell more than 10 Million copies. |
1:10:05 (Pop-up) |
Music behind DJ: Gustavo Savala |
Another Brick In The Wall Pt. 3
|
The Wall For Babies |
Yugular Records |
2012 |
The Wall is the eleventh studio album by the English progressive rock band Pink Floyd, released on 30 November 1979 by Harvest/EMI and Columbia/CBS Records. It is a rock opera that explores Pink, a jaded rock star whose eventual self-imposed isolation from society forms a figurative wall. The album was a commercial success, topping the US charts for 15 weeks and reaching number three in the UK. It is the proto OK Computer and had to be mentioned on this broadcast, otherwise '79 would not be complete. |
1:13:22 (Pop-up) |
Music behind DJ: Cuerdas Sueltas |
Highway To Hell
|
Oh Man! |
Cuerdassueltas |
2019 |
Highway to Hell is the sixth studio album by Australian hard rock band AC/DC, released on 27 July 1979. It was the last album featuring lead singer Bon Scott, who would die early the following year on 19 February 1980. The lyrics displayed a fierce, stubborn independence in his choice of lifestyle ("Askin' nothin', leave me be"; "nobody's gonna slow me down"), but not really loneliness (of hell: "goin' down! party time! my friends are gonna be there too"). It's ironic that Scott seems most alive when facing death with the fearless bravado of "Highway to Hell", yet it's undeniably true, especially given his positively unhinged performance. |
1:14:35 (Pop-up) |
| Cabaret Voltaire |
Nag Nag Nag
|
Nag Nag Nag (Single) | Rough Trade | 1979 | Cabaret Voltaire formed in Sheffield in 1973. "The early work of Cabaret Voltaire consisted primarily of experimentation with DIY electronics and tape machines, as well as Dada-influenced performance art, helping to pioneer industrial music in the mid-1970s." By 1979, they found a wider audience Rough Trade released this abrasive classic as a 7", which would be an influence on industrial & electro music for years and decades to come." -- I would argue that Industrial Music didn't really find traction or consideration as a genre until 1979. This is the music that provided a springboard into music & offshoots still ongoing today... "Post-industrial developments: Dark ambient, Electro-industrial, Electro, EBM, Industrial hip hop, Industrial rock and industrial metal, Japanoise, Neofolk, Power electronics, Power noise, Witch house, Dark wave, Grindcore, Rivethead, Surrealist music, Electropunk, Dungeon synth..." etc. | 1:17:41 (Pop-up) |
| Tubeway Army |
Are 'Friends' Electric?
|
Are 'Friends' Electric? (Single) / Replicas (Album) | Beggars Banquet | 1979 | Recorded // January–February 1979 //// Released 4 May 1979 //// Wiki sources claim that this was" the first synth-pop single to reach number one in the UK Singles Chart." //// From Songfacts (1979 page): "This song is about man living among robots - how you can lock yourself in a dark room away from any other human. Numan has Asperger's Syndrome, and many of this songs deal with themes of technology and isolation. //////// Speaking to Dutch TV NTR, Numan said the song is about a robot prostitute and had the BBC known at the time, they wouldn't have playlisted it. "It was a futurist version of getting pornography in the post, what comes in a brown envelope so your neighbors don't know what it is," he explained. "These machines that look human are doing various services in these grey coats and they all look the same." //////// "If the BBC had known what it was about they would never have played it," Numan added, "They would never have let me go on Top of the Pops. Thumbs up for obscure lyrics." //////// This was released on the album Replicas by Tubeway Army, which was Numan's first band. Replicas came out under the Tubeway Army name at the record company's insistence, but Numan was a solo artist by then, and the band was the one he used from then on: Cedric Sharpley on drums, Russell Bell on keyboards etc. By his third album The Pleasure Principle (also a huge seller in the UK, and featuring "Cars," his only US hit) the name on the record was Gary Numan. //////// With its electronic sound, this track wasn't for everyone, and many critics bashed it. In our 2010 interview with Gary Numan, he explained: "In this country at least (England), the public kind of got it before the media did, and it was #1 here for I think four weeks. And it was on its third week at #1 that radio even started to playlist it. //////// You know, there was a tremendous kind of resistance to it, people thought it was quirky here today, gone tomorrow. And at the time I felt like I was waving my flag, fighting for a cause. But now I look back on it, and I think very differently. So I'm just glad that it's evolved the way it has. I'm glad that the stuff I did in those days gets some recognition. I'm glad that the whole electronic thing found its feet and became a totally established part of music in general, and has been now for a good couple of decades or so. I think there's better music around because of it. The technology itself has come more than leaps and bounds. It's made a dramatic contribution to music in general, and I'm just proud that I played a small part in that." //////// The first Tubeway Army album was far more guitar-oriented, with songs like "Friends" which are pure punk songs. "Are Friends Electric?" represented a new sound for Numan: stark alien synthesizer-driven melodies, with the almost-orchestral sound of the Minimoog and other analog synths, which had faulty "ladder filters" that accidentally produced a richer fuller sound than other synths of the time." | 1:22:22 (Pop-up) |
| Dead Kennedys |
Forward To Death
|
Live At The Deaf Club 1979 | Alternative Tentacles | 1979 | Meanwhile, in San Francisco (and L.A.), the beginnings of the West Coast American Hardcore scene was starting. As the original first wave of punk began branching off into similar, but noisier or more anarchic, subgenres in the UK, USA & beyond; Hardcore punk would endure through the ages and to this very day. Faster, thicker, louder. "Live at the Deaf Club is a live album released by the Dead Kennedys... The actual performance took place at the San Francisco Deaf Club on March 3, 1979. The performance was unique in that this was the last time their rhythm guitarist 6025 performed with them." | 1:27:39 (Pop-up) |
| U-J3RK5 |
Naum Gabo
|
Vancouver Complication (V/A) | Pinned Records | 1979 | "UJ3RK5 (pronounced "you jerk," - the five is silent) was a Vancouver-based band from the late 1970s. Their style was post punk/new wave, but was more art rock than synth pop. U-J3RK5's short-lived local success was influenced by the music industry's infatuation with Martha and the Muffins-styled male-female bands. The band included local artist celebrities Ian Wallace, Jeff Wall and Rodney Graham, as well as Kitty Byrne, Colin Griffiths, Danice McLeod, Frank Ramirez and CBC Radio host David Wisdom. Their eponymous debut album, portraying the pioneers of Vancouver's school of so-called 'photoconceptualism' or 'post-conceptual photography' in a rare moment of unison, sported an unlikely hit single titled "Eisenhower and the Hippies" - a song inspired by a work of American conceptual art proponent Dan Graham." ///////// Bass [Pre-bass] – IW4 Ian Wallace ///////// Guitar [1953 Les Paul] – FC9 Frank Crass ///////// Guitar [Guitar Technician on Rickenbacker] – RG2 R Graham //////// Performer [Acetone] – DW7 David Wisdom ///////// Violin [Electric Violin] – DM8 Denice Mcleod ///////// Vocals, Clarinet [German Steel Clarinet], Synthesizer [Roland sh2000] – FR1 Frank Ramirez ///////// Written-By – F. Ramirez, U-J3RK5 ///////// "Naum Gabo, KBE born Naum Neemia Pevsner (5 August [O.S. 24 July] 1890 – 23 August 1977) (Hebrew: נחום נחמיה פבזנר), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal. Responding to the scientific and political revolutions of his age, Gabo led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Création group. Two preoccupations, unique to Gabo, were his interest in representing negative space—"released from any closed volume" or mass—and time. He famously explored the former idea in his Linear Construction works (1942-1971)—used nylon filament to create voids or interior spaces as "concrete" as the elements of solid mass—and the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art." ///////// "Vancouver Complication is a compilation album featuring many influential Vancouver punk bands. It was released in 1979 on Pinned Records, and has been reissued a number of times with several different cover designs. Considered one of the most important Canadian punk rock albums, the album was compiled by Grant McDonagh, who would later become one of the founders of Zulu Records. Most tracks were recorded at the Sabre Sound studio in Vancouver; for some bands, their contributions to the album were their first and/or only time recording material in a studio... ...Writing for Exclaim!, Sam Sutherland stated that "a better snapshot of the beginnings of Canada's fertile West Coast punk scene does not exist." For AllMusic, Ned Raggett noted that some of the bands on the compilation sounded derivative of the more established punk rock scenes in London and New York City, but praised other bands with "other less straitjacketed ways around punk inspirations" for producing "lasting winners", and called the overall album "a classic late-'70s punk-era city-scene survey"." | 1:29:14 (Pop-up) |
| Duran Duran |
Girls On Film (Demo)
|
Girls On Film 1979 Demo | Cleopatra Records | 2016 / 1979 | '79 Demo workout from the preeminent poster-children of the "New Romantic" movement & genre. (One of many musical genres and scenes that didn't really find form until 1979.) "The New Romantic movement developed almost simultaneously in London and Birmingham. In London it grew out of David Bowie and Roxy Music themed nights, run during 1978 in the nightclub Billy's in Dean Street, London. In 1979, the growing popularity of the club forced organisers Steve Strange and Rusty Egan to relocate to a larger venue in the Blitz, a wine bar in Great Queen Street, Covent Garden, where they ran a Tuesday night "Club for Heroes". Its patrons dressed as uniquely as they could in an attempt to draw the most attention. //////// Steve Strange worked as the club's doorman and Egan was the DJ at the Blitz. The club became known for its exclusive door policy and strict dress code. Strange would frequently deny potential patrons admission because he felt that they were not costumed creatively or subversively enough to blend in with those inside the club. In a highly publicised incident, a drunken Mick Jagger tried to enter the club, but Strange denied him entry. The club spawned several spin-offs and there were soon clubs elsewhere in the capital and in other major British cities, including Manchester, Liverpool and Birmingham... After the breakthrough of Tubeway Army and Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound and they came to dominate the pop music of the early 1980s. Bands that emerged from the New Romantic scene and adopted synthpop included Duran Duran, Visage, and Spandau Ballet. //////// Early synthpop has been described as "eerie, sterile, and vaguely menacing", using droning electronics with little change in inflection. Later the introduction of dance beats made the music warmer and catchier and contained within the conventions of three-minute pop.[39] Duran Duran, who emerged from the Birmingham scene, have been credited with incorporating a dance-orientated rhythm section into synthpop to produce a catchier and warmer sound, which provided them with a series of hit singles. //////// While many groups associated with the New Romantic movement used synthesizers, some avoided them entirely or made limited use of them. Boy George's band Culture Club, which formed in 1981, produced a sound that combined elements of Motown, Philly soul, reggae and lovers rock. Adam and the Ants used the African-influenced rhythms of the "Burundi beat"" "Drums – Roger Taylor ///////// Guitar – John Taylor ///////// Keyboards – Nick Rhodes ///////// Vocals, Harmonica – Andy Wickett ///////// Written-By – Andy Wickett, Duran Duran ///////// Producer – Bob Lamb" | 1:32:21 (Pop-up) |
| The Fall |
Intro
|
Totale's Turns (It's Now Or Never) | Rough Trade | 1980 (&1979) | This track live from Oct 27 1979, Bircoats Leisure Centre, Doncaster. -- Perhaps the best example of a band not sticking to expectation, genre, form or expectation, The Fall formed in 1976 and lead singer Mark E. Smith stayed at the helm, releasing albums regularly with various lineups until his death in 2017. 1979 would see The Fall release two full-length albums, one 7" singles and record another by end-year (released Jan 1980) with a lineup that was almost entirely different by the second half of the year to the one that started it. From their DIY punk beginnings, to the more accomplished debut, and ultimately the more uneven but stylistically ambitious second album, they would be completely reinvented in the space of a year. This would continue throughout the history of the group. Staying unwaveringly true to his nature, Mark E Smith would purposefully push against all expectations for his entire career. He would later proclaim himself to be the "original white rapper", in reference to his singular vocal style that has often been imitated, yet, due to its inventiveness and individuality, never be replicated. "The first of the band's many live and part-live albums, it was mostly recorded at gigs in the north of England, but the track "New Puritan" was recorded at Mark E. Smith's home and "That Man" is a studio recording, an outtake from the recording sessions for the "Fiery Jack" single. //////// Rather than record themselves in front of a receptive home crowd, the Fall chose to use recordings made in working men's clubs and other less obvious settings; Side 1 of the album was recorded at a leisure centre near Doncaster while the first two tracks on Side 2 are from a February 1980 gig in Bradford. It is clear on the recording that the reception the band received ranged from indifferent to hostile, the enmity between band and audience evident from Smith's introductory statement "The difference between you and us is that we have brains". //////// Friction within the band is also apparent, with Smith apparently chastising one of the musicians during "No Xmas for John Quays" with "Will you fuckin' get it together instead of showing off". //////// Smith said of the album in his 2008 book Renegade: "Nobody wanted to release it, because nobody played the sort of venues that you hear on it – places like Doncaster and Preston. The North was out of bounds; it might as well have been another country. We just pieced a load of tapes together. In the band's eyes it was commercial suicide releasing this dirge; they couldn't see the soul that lay behind it. That's musicians for you." //////// The album was released on 5 May 1980, the band's first release after signing to Rough Trade Records." | 1:35:38 (Pop-up) |
| The Fall |
Fiery Jack
|
Totale's Turns (It's Now Or Never) | Rough Trade | 1980 (&1979) | This track live from Oct 27 1979, Bircoats Leisure Centre, Doncaster. This is the A-side track that they recorded at the end the year (& released as a non-album 7" in Jan 1980.) "Dave McCullough in Sounds gave the album a five star rating, calling the band "a living reminder of the failure of Punk and the almost solitary exponents of the directions in which it should have gone". //////// The album was chosen by Luke Haines in 2011 as one of his favourite thirteen albums. //////// The album topped the UK Independent Chart in 1980, spending a total of 31 weeks on the chart." | 1:36:24 (Pop-up) |
| Sugarhill Gang |
Rapper's Delight (Single Version)
|
Rapper's Delight (Single) | Sugarhill Records (Original) / Quality Records (Canada) | 1979 | Released September 16, 1979 //////// Recorded August 2, 1979 //////// "This was the first rap song to enter the US Hot 100. Rap music had been around for about seven years, but it was usually heard at block parties and discos where DJs would loop breakbeats and MCs would add live vocals. Outside of the Bronx, rap was generally considered a fad, and record companies had no interest in financing it. The first rap song commercially released was "Kim Tim III (Personality Jock)" by the Fatback Band, which came out in the summer of 1979, but was relegated to the B-side of a more traditional R&B tune. "Rapper's Delight," released on September 16, 1979, was a serious push to get a rap record into the mainstream, and it worked. The song reached the Hot 100 (at #84) on the chart dated November 10, and cracked the Top 40 (at #37) on January 5, peaking at #36 a week later. These chart positions may look modest, but getting a rap song national attention was quite an accomplishment, making "Rapper's Delight" a seminal song in hip-hop history. The winning formula was boastful lyrics over a sampled beat - a technique that became ubiquitous in rap. The Fatback Band used an original beat on their song "Kim Tim III," making "Rapper's Delight" the first rap song to use a sample or interpolation, which of course was done without permission because no precedent existed for clearing them. The beat that plays throughout was taken from "Good Times" by Chic, a song that was in the crates of every DJ who played at the block parties where rap got its start. The "Good Times" groove was easy to loop on turntables, creating a breakbeat that was perfect for MCs. The Sugarhill Gang wasn't the first to borrow it - Queen used the bassline in their song "Another One Bites The Dust." "Rapper's Delight" used real musicians to re-create the "Good Times" rhythm because the technology didn't exist to make it into a sample loop. The only way to do it would be splicing tape together, and that could get choppy. But Sugarhill Gang didn't just use the "Good Times" beat; the string stabs were also lifted (these were samples, played from the record), so the entire "Delight" track was made up of pieces from the Chic song. "Good Times" was written by Chic's guitarist/producer Nile Rodgers and bass player Bernard Edwards. Rodgers heard "Rapper's Delight" for the first time when he was out at a club and the DJ played it. After he threatened a lawsuit, the credits on the song were changed. Originally, the three Sugarhill Gang rappers and their label boss Sylvia Robinson were listed as the song's writers, but now the only composers listed are Rodgers and Edwards, who receive all the songwriting royalties it brings in (Edwards' share goes to his estate, as he died in 1996). The group was put together by Sylvia Robinson, owner of the New Jersey label Sugarhill Records, to take advantage of the rap music that was gaining popularity at New York City block parties. Her son, Joey Robinson, just 18 at the time, was the vice-president of promotion for the label and found the rappers for the group: Wonder Mike (Michael Wright), Big Bank Hank (Henry Jackson) and Master Gee (Guy O'Brien), all from Englewood, New Jersey. None of them had much credibility and weren't part of the "crews" that were rapping and dancing at the block parties. Some members of the early hip-hop scene thought the group was a sham, but the song became very popular in clubs and had a huge impact." | 1:40:48 (Pop-up) |
Music behind DJ: Sugarhill Gang |
Rapper's Delight (Long Version)
|
Rapper's Delight (Single) |
Sugarhill Records (Original) / Quality Records (Canada) |
1979 |
Released September 16, 1979 //////// Recorded August 2, 1979 //////// The full length version. There were 5 different versions, at various lengths. This was the original. Unfortunately, we will rudely be talking over it... Hunt it down! It revolutionized music! |
1:47:29 (Pop-up) |
| ABBA |
As Good As New
|
Voulez-Vous | Polydor | 1979 | Disco was at its peak and this song is absolute perfection. "As Good as New" is a song recorded in 1979 by Swedish group ABBA, and was used as the opening track on their Voulez-Vous album. The lead vocals are by Agnetha Fältskog. The song was released as a single in Mexico as a double A-side with "I Have a Dream", where it became ABBA's ninth (and final) number-one hit. As their 6th album, the band was fraught with personal tension at the time and said they were creatively uninspired...It would take more than a year before it was finished – a longer recording period than any other ABBA album – and, during the 12 months of sessions, in their quest for the very best tunes, they would record and dismiss more songs than for any other LP. | 1:58:11 (Pop-up) |
| Sparks |
Beat The Clock
|
No. 1 In Heaven | Ariola | 1979 | In true Sparks fashion, No. 1 in Heaven isn't just a disco album; it's an album about disco, drawing narrative inspiration from the genre's underlying motifs and energies and filtering it through their own uniquely peculiar perspective. Ironically, by completely overhauling their aesthetic, Sparks never sounded more Sparksian, probing a culture obsessed with lust, vanity, and materialism as eagerly as Kraftwerk celebrated European public-transit efficiency. And with the ebullient “Beat the Clock,” the Maels use disco’s relentless, sweat-soaked rhythms as a metaphor for a nascent computer-age culture on the cusp of accelerating out of control, presenting a highly prescient portrait of a young busybody eager to cross off his bucket list—getting a PhD, traveling, sleeping with Liz Taylor—before he reaches adulthood. | 2:01:24 (Pop-up) |
| The Human League |
Empire State Human
|
Empire State Human 7" | Virgin | 1979 | Human League's first album is a distillation of the Sheffield sound...cold, dark, dystopian and synthetic...an icy body with a human beating heart. The recordings were co-produced by Colin Thurston, who had previously worked on some key recordings such as Iggy Pop's Lust for Life and Magazine's Secondhand Daylight, and who went on to produce numerous hit albums of the 1980s, most notably for Duran Duran. The album's initial release in October 1979 was a commercial failure, but it was re-issued and entered the charts almost two years later in August 1981, earning a Silver disc by the end of the year and peaking at #34 in early 1982. Of the cover art, Martin Ware said "We said we wanted an image of a glass dancefloor in a discotheque which people were dancing on and beneath this, a lit room full of babies. It was meant to look like a still from a film – like some kind of dystopian vision of the future – but it just looks like they're treading on babies. We were quite upset but at that time, it was too late to change it" | 2:05:50 (Pop-up) |
| Vice Versa |
Riot Squad
|
Music 4 7" | Neuron Records | 1979 | Vice Versa is an electronic band that formed in Sheffield, England in 1977. Vice Versa originally consisted of Stephen Singleton, Mark White, Ian Garth, and David Sydenham, the former two of whom would go on to later found the successful 1980s pop band ABC. This song captures the racial and class tensions and the ensuing riots in the UK. heir first concert took place at the Doncaster Outlook club supporting Wire. Their first major Sheffield gig was with the Human League at the Now Society at Sheffield University, called "Wot, no Drummers", in reference to the fact that drum machines were used by all participating bands in place of real drums. | 2:09:05 (Pop-up) |
| Vex |
DNA
|
Various - Nome Noma Québec Post-Punk Et New Wave 1979-1987 | Trésor National | 1979 / 2020 | Meanwhile in Canada...New Wave/No Wave also gained a foothold. Vex were a New Wave band from Montreal, Canada, late 70s/early 80s. Founded by Alan Lord (Vent du Mont Schärr) and Bernard Gagnon (Bernard Gagnon, Heaven Seventeen, Cham Pang) and Angel Manuel Calvo (Rational Youth, Cham Pang). Not much is known about this early band, but definitely there were influences of Sheffield Synth and Devo present in their music. They released only this one song in 1979, later reissued twice on compilations.... | 2:11:23 (Pop-up) |
Music behind DJ: The Imagining Sound Orchestra |
The Logical Song
|
Instrumentales Maravillosos |
Megamusica |
2020 |
"The Logical Song" is a song by English rock group Supertramp that was released as the lead single from their album Breakfast in America in March 1979. It was written primarily by the band's Roger Hodgson, who based the lyrics on his experiences being sent away to boarding school for ten years. The song became Supertramp's biggest hit, rising to No. 7 in the United Kingdom and No. 6 on the US Billboard Hot 100 chart. |
2:14:22 (Pop-up) |
Music behind DJ: Take Vibe /Laurence Mason |
Walking On The Moon
|
Take Vibe EP |
Bandcamp |
2020 |
In 2020 during the corona crisis lockdown, musician Laurence Mason meshed together two of his biggest musical heroes, Dave Brubeck and Dave Greenfield of The Stranglers. He put up his demo on Youtube and got one million hits. As a result the track was released on 7". |
2:18:26 (Pop-up) |
Music behind DJ: Rockabye Baby |
I Was Made For Loving You
|
Lullaby Renditions of Kiss |
Rockabye Baby Music |
2012 |
At first Desmond Child said, "Paul wanted to write a good disco song and I decided to help him with that. Paul started to write lyrics and chords then I played the song on the guitar and said 'OK, we'll do something to improve this and make it really a good song.'" "I Was Made for Lovin' You" draws heavily from the disco style that was popular in late-1970s United States. According to legend, the members of the band were in conflict with their producers, who wanted the band to shift to a more commercial sound. In response, the band argued that lucrative disco songs could be written by anyone in a short time frame. The story goes that the song's demo was completed in mere hours after the bet. |
2:21:43 (Pop-up) |
| Wire |
Indirect Enquiries
|
154 | EMI / Harvest / Warner Brothers | 1979 | "Branching out even further from the minimalist punk rock style of their earlier work, 154 is considered a progression of the sounds displayed on Wire's previous album Chairs Missing, with the group experimenting with slower tempos, fuller song structures and a more prominent use of guitar effects, synthesizers and electronics." It "had been demoed during initial work on Chairs Missing the previous year. However, at that stage it had had a brisk arrangement with Newman and Gilbert's interlocked guitars propelling it forward. But by the time of the demos for 154 the band had already started to transform the composition. Not only is it the album's slowest piece, it is also its darkest and most disturbed moment. The original tune has been abandoned in favour of an uneasy psychedelic dirge. The rhythm is a somnambulant stagger with guitars creating sheets of caustic noise as [Producer Mike] Thorne's electronics drone with menace..." |
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Listener comments!
DJ Babs:
Derek Westerholm:
Scott67:
🌏☀️🍻😎🤙💨🍺🌊⛱️🌴👙🩳🦀
Mr Fab:
DJ Blush:
ultradamno:
DJ Babs:
DJ Babs:
ultradamno:
ultradamno:
DJ Blush:
ultradamno:
DJ Babs:
DJ Babs:
DJ Babs:
ultradamno:
DJ Blush:
DJ Babs:
DJ Babs:
DJ Babs:
Derek Westerholm:
Mr Fab:
DJ Blush:
DJ Babs:
DJ Blush:
DJ Babs:
Mr Fab:
DJ Nico:
Kristine:
DJ Babs:
DJ Blush:
Derek Westerholm:
DJ Babs:
DJ Babs:
Kristine:
DJ Babs:
DJ Nico:
Kristine:
Derek Westerholm:
Derek Westerholm:
Kristine:
Mr Fab:
DJ Blush:
ultradamno:
— Brian Eno
www.biggestapple.net...
Oh Fodder!:
DJ Nico:
ultradamno:
Scott67:
🍻😎🤙💨🍺
Otis:
DJ Babs:
Scott67:
😎🤙🍺☕🍪🍁
Otis:
Kristine:
Derek Westerholm:
DJ Babs:
shellioh:
Derek Westerholm:
Mr Fab:
I suppose some guys are...
DJ Blush:
Derek Westerholm:
DJ Babs:
shellioh:
Derek Westerholm:
ultradamno:
shellioh:
Kristine:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Blush:
Mr Fab:
DAMN i love Nina Hagen.
Otis:
shellioh:
Kristine:
ultradamno:
DJ Blush:
ultradamno:
DJ Blush:
DJ Blush:
DJ Babs:
DJ Babs:
Kristine:
ultradamno:
ultradamno:
Robm:
DJ Babs:
DJ Babs:
Derek Westerholm:
Robm:
ultradamno:
Mr Fab:
Robm:
Derek Westerholm:
Derek Westerholm:
DJ Babs:
Will thee Sound Guy:
DJ Babs:
Robm:
Hey will
Derek Westerholm:
DJ Babs:
Your Pretend Boyfriend:
DJ Babs:
Derek Westerholm:
Robm:
Will thee Sound Guy:
Robm:
coelacanth∅:
DJ Blush:
Robm:
Derek Westerholm:
Your Pretend Boyfriend:
Robm:
Robm:
coelacanth∅:
Derek Westerholm:
ultradamno:
coelacanth∅:
- maybe i should buy a lottery ticket!
Your Pretend Boyfriend:
coelacanth∅:
Derek Westerholm:
Derek Westerholm:
Robm:
ultradamno:
coelacanth∅:
ultradamno:
coelacanth∅:
Your Pretend Boyfriend:
Robm:
DJ Babs:
coelacanth∅:
but i'll take any sax or marching band version of any b-52s song you wanna hit me with!
ultradamno:
DJ Nico:
DJ Babs:
DJ Babs:
Your Pretend Boyfriend:
organ:
ultradamno:
Robm:
Ultra lou was known for that from time to time
ultradamno:
DJ Blush:
DJ Babs:
Your Pretend Boyfriend:
Robm:
DJ Babs:
DJ Babs:
coelacanth∅:
...(this is no reflection on how wonderful the rest of that, by far my favorite s&tb album, is)
ultradamno:
It just occurred to me, this came out in 79, definitely top ten worthy with favorite Tuxedomoon and Chrome songs
Derek Westerholm:
ultradamno:
DJ Babs:
coelacanth∅:
Robm:
DJ Babs:
DJ Babs:
Robm:
coelacanth∅:
Robm:
DJ Babs:
ultradamno:
DJ Babs:
Derek Westerholm:
Robm:
coelacanth∅:
Babs i've never done it and i'm anxious about it! it's kind of a fucked up situation... over an uneven 150 year-old wooden floor... these things are very fragile and they stain if you glance at them wrong!
DJ Babs:
DJ Nico:
DJ Babs:
DJ Babs:
KickOutTheJams Joe:
DJ Babs:
coelacanth∅:
so i'll learn how to do it for $20/hour.
KickOutTheJams Joe:
DJ Babs:
coelacanth∅:
DJ Babs:
coelacanth∅:
Robm:
KickOutTheJams Joe:
Will thee Sound Guy:
ultradamno:
DJ Babs:
Kristine:
Robm:
DJ Babs:
DJ Babs:
DJ Babs:
ultradamno:
Scott67:
DJ Babs:
coelacanth∅:
Kristine:
Kristine:
drowsy:
Otis:
v-dawg:
Kristine:
Your Pretend Boyfriend:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
coelacanth∅:
tchau
Your Pretend Boyfriend:
Derek Westerholm:
Kristine:
DJ Babs:
Scott67:
ultradamno:
DJ Babs:
DJ Babs:
DJ Babs:
Ike:
DJ Babs:
ultradamno:
DJ Babs:
Your Pretend Boyfriend:
Your Pretend Boyfriend:
ultradamno:
coelacanth∅:
thoughout history there's been only 1 human league song i liked (or even could stomach) "the lebanon".
but it turns out that's the only good song on it's album. the albums before the women joined are pretty good though!
...this is a revelation for me.
DJ Babs:
drowsy:
DJ Babs:
DJ Babs:
coelacanth∅:
coelacanth∅:
ultradamno:
Otis:
Mr Fab:
Mr Fab:
coelacanth∅:
(and i'll check out that ep, Thanks Mr Fab)
Scott67:
🌏☀️🍻😎🤙💨🍺🍷
Xangoir:
Your Pretend Boyfriend:
Xangoir:
Scott67:
Xangoir:
coelacanth∅:
...a little teeny dick with a little teeny brain!
ultradamno:
Your Pretend Boyfriend:
drowsy:
ultradamno:
Scott67:
DJ Babs:
DJ Babs:
DJ Babs:
ultradamno:
drowsy:
DJ Babs:
Xangoir:
Kristine:
Otis:
DJ Babs:
Thanks for always being so cool and awesome... <3
Mr Fab:
coelacanth∅:
and generally speaking it'd never get better for commercially distributed music.
Derek Westerholm:
coelacanth∅:
Derek Westerholm:
Mr Fab:
coelacanth∅:
Derek Westerholm:
ultradamno:
X - Wild Gift
Gun Club - Fire
MX-80 - Crown Control
Tuxedomoon - Desire
Factrix - Scheintot
Birthday Party - Prayers
The Residents - Mark
The Raincoats - Odyshape
Flesh Eaters - Minute To Pray
Minutemen - Punch Line
ultradamno:
Mr Fab:
coelacanth∅:
(though i don't think i;'ve ever heard the flesh eaters and definitely not factrix)
Mr Fab:
coelacanth∅:
Derek Westerholm:
ultradamno:
coelacanth∅:
coelacanth∅:
coelacanth∅:
ultradamno:
coelacanth∅:
Derek Westerholm:
coelacanth∅:
ultradamno:
ultradamno:
Derek Westerholm:
coelacanth∅:
most of those i've never heard the album but basing my opinion on the bands in general.
Derek Westerholm:
ultradamno:
coelacanth∅:
but those 2 albums + a few someone lesser ones place them out of knife-throwing distance ahead of x!
ultradamno:
Derek Westerholm:
coelacanth∅:
coelacanth∅:
coelacanth∅:
ultradamno:
Derek Westerholm:
coelacanth∅:
in god we trust, inc was the first dks i heard; then plastic surgery disasters; THEN the first one.
Derek Westerholm:
coelacanth∅:
Derek Westerholm:
The sand is laced with sticky glops
Shimmering moonlight sheen upon the waves and water clogged with oil
White gases steam up from the soil
[Chorus]
Oh, my beach at night
Bathe in my moonlight"
ultradamno:
Derek Westerholm:
Derek Westerholm:
coelacanth∅ looking at own shuffling feet:
ultradamno:
Derek Westerholm:
coelacanth∅:
... okay, in lieu of a knife &/or machete match i'm going make dinner.
-and visit the blue flame refrigerator.
tchau y'all
Derek Westerholm:
Derek Westerholm:
Derek Westerholm: