Suicide - Live At Club Europa December 11, 2008

I was fortunate enough to attend that rarest of rare occurences, a live Suicide show, last Thursday night. It was my second time seeing them, as I also caught their free show at the South Street Seaport last summer; nothing quite as weird as seeing the darkest of bands playing outdoor in the sunshine to a crowd full of drunk yuppies.

This time, they chose the odd venue of Club Europa in Greenpoint, a two-floor club that mostly hosts local acts, not seminal ones that have influenced everything that has come since. It's actually a nice venue, as the upstairs as a nice bar in the back, a stage in the front with plenty of room to either stand or you can grab a seat on the couches that surround the dancefloor. I arrived in time to catch the A.R.E. Weapons setting up, after a typically long wait for the cursed G train. I've seen the A.R.E. Weapons before, but have never really found them to be very compelling. I hear descriptions of noise rock, electro rock, confrontational, etc., but that wasn't what I heard that night. It just sounds like blah glam-y punk or something; the tunes didn't grip me, they definitely didn't venture into noise territory and generally made me wish I had come an hour later.



The main event began around 11:2o, I believe, as Mr. Alan Vega and Mr. Martin Rev walked through the crowd and up onto the stage. By the time they did, the room was packed, a nice surprise considering it was a Thursday night in Greenpoint and it was still pouring rain at showtime. Vega (real name: Alan Bernowitz) wore a black hooded sweatshirt and lit a cigarette about a song in. I know it'll make me sound like a fan boy, but who gives a shit? Dude is just cool personfied, all attitude, sneering, punk despite the fact that he's twice as old as anyone in the room. They opened with two classics, "Ghost Rider" and "Rocket USA," killing it with both, you would have no idea that these two dudes never really play live (I believe that I've caught their last two shows in NYC) Vega's still got that voice, that jittery, paranoid one that sucks you in and demands you listen.



To be honest, this night was all about Martin Rev, as he killed it the entire night. On the new track they introduced, Rev went off on a 4 or 5 minute Korg solo that had Vega sitting down to let the man shine. At times, the sinister shit Rev played completely overwhelmed Vega's vocals, which was a little frustrating as Suicide isn't the same without Vega's crazed Elvis-y vocals. But, honestly, I wouldn't want Rev to be lower in the mix, as that minimal ruckus he raises is perfect,



The band played for a little more than an hour, then walked off the stage and headed back to the dressing room area. They ignored the encore calls, as the lights went up after about 5 minutes. They came, kicked ass and left. I headed out and shockingly the G came for the first time ever just as I was getting to the platform. I like to think that Suicide's music scared the shit out of the MTA and forced them to hook up the exiting fans.



All of these terrible photos were taken by me with the aid of the lovely Miss LS's camera. Let me leave you with a parting shot of the machines that made it all happen. We'll have more Suicide live music coming up, some real goodies people. Yeah yeah yeah!

Suicide - 23 Minutes Over Brussels

Suicide, "23 Minutes Over Brussels" (YSI link)

Every so often I like to focus on one particular artist or genre for a bit and that time has come again. I caught one of my favorite bands of all-time, Suicide, last Thursday night at Club Europa in Greenpoint, Brooklyn. I'll have more to say on that later, but for now I wanted to start posting up some live Suicide music.

There's no other place to start than the duo's most infamous show, June 16, 1978, live at the Anciennes Belgique, Brussels, Belgium. The band was in Europe opening for a few bands you've probably heard of - The Clash and Elvis Costello. This particular night, they were opening for Elvis Costello & the Attractions and this particular crowd was not happy at having to wait to hear their hero. Suicide opens with "Ghost Rider" and it's all downhill from there. The guys are booed pretty lustily after that one, but little does anyone know that booing is this audience being polite. You get an "Elvis! Elvis!" chant after "Rocket USA," booing and whistling throughout the fourth song, "Dance." By the time they get to "Frankie Teardrop," things are getting ugly. Someone in the audience steals the microphone, forcing the promoter to come out and demand it back or the show will be cancelled. Alan Vega subsequently begins to tell the crowd (or one person in particular) to "fuck off" and as the tape cuts, a full-fledged riot has broken out. Vega gets his nose broken, the club is torn up and the Suicide legend begins. 23 minutes.

This was a bonus track released as a second on the reissue of Suicide's self-titled first album. If you do not own that album, stop whatever you are doing and buy a copy. Then, buy a second copy to give out to a stranger. This is essential music from the studio and the stage, the darkest, most immediate music I've ever heard.

Friendly Fires - Paris

Friendly Fires, "Paris (Aeroplane remix)" (YSI link) 320

"I promise, someday, we're gonna live in Paris." How could I not love this song with a lyric like that and a remix by new disco kings Aeroplane. We're in the midst of horrible rainy/snowy weather here in NYC right now, so it's nice to have this cosmic and sunny remix to remind us that the summer is coming around again. Just listen to those warm keys and handclaps and tell me you don't see yourself on an beach on some isolated island watching the sun rise. Add in re-done vocals by Au Revoir Simone that add an air of the wistful and you have a winner. Things do pick up around the 4 and a half minute mark, as the vocals drop out and the drums kick harder and the synths starting shooting fire. It's much more banger than Balearic, which I ain't mad at.

This one's dedicated to my cosmic girl JH-B, who had a law school exam today. I sent good thoughts and cosmic tunes her way all day!

Everyone is flipping over the Justin Kohncke remix on the B side, making this a real serious 12". Grab your copy at Turntable Lab and also make sure to pick up the original stuff in the form of the Friendly Fire's first self-titled LP. This sort of indie dance stuff is pretty saturated right now, but these UK guys are definitely pushing through the clutter.

Chuck Chillout - KISS FM Radio Show 8/29/86

Chuck Chillout, KISS FM radio show August 28, 1986 (YSI link)

Here's something fun to kick off the week, as we continue to try to dig into the first decade or so of rap music. A real radio show from the mid-80s NYC! It's a great blast from the past, a chance to hear the earliest days of rap music in its most natural setting, the hour and fifteen minute straight mix. Hard to overstate how important these shows were to the development of hip-hop, as they gave the new genre a sense of importance and permanence, a real outlet that could be heard by anyone with a radio.

Chuck Chillout was one of the biggest names in NYC radio during this time. He should also be familiar to Pound for Pound readers, as he was a member of The B-Boys, who we discussed last week. Dude was a master scratcher, releasing a 3 part solo series, worked with Run-DMC, discovered Black Moon and has been an instrumental force in bringing rap to the world. The show's a lot of fun, as you hear the biggies from the day like Run-DMC, LL Cool J and Boogie Down Productions. Chuck mixes it all impeccably, taking us back to stripped down, sample-heavy days.

All of this got me to thinking about how much I miss having the chance to hear great radio shows. I can remember when I was growing up in Philly, trying to catch Friday night rap show on Power 99 or the college radio stations at Princeton and Drexel that played experimental music. There was something wonderful about those early days, these secret little sessions you could have to discover all of this amazing music that seemed endless. Not sure we have that today, since it's so easy to find out about every band or artist ever with blogs and podcasts and whatnot. Obviously, it's much better now, as we want everyone to be able to hear great music as easily possible, but there's something inside of me that thinks the music was a lot more special when it was harder to find.

Talking Heads - Stop Making Sense

Talking Heads, "Heaven" (YSI link)

Talking Heads, "This Must Be The Place (Naive Melody)" (YSI link)

This seems like the logical follow-up to the Greg Wilson edits, going back to the Talking Heads album that that edit came from. Stop Making Sense was the concert film shot in December 1983, directed by Jonathan Demme, that remains one of, if not the, greatest concert film ever shot. I'm partial to The Grateful Dead Movie, but you should definitely add this to your Netflix queue ASAP.

The soundtrack is excellent, a great chance to hear the band playing live and funky. Things start off with just David Byrne singing "Psycho Killer" solo and then another band member comes out with each new song until the whole band is together for "Found A Job." There's a few guest musicians, including Parliament-Funkadelic's Bernie Worrell, but it isn't some Last Waltz-type concert. This is Talking Heads and that is a good thing. These songs come from the 1999 Special Edition release, which gives you the 9 original tracks plus 7 additional tracks that had not been heard before. I've focused on two of the new additions, which blow me away every time I hear them. I always associate the Talking Heads with that skewed funky sound, never really considered Byrne and his singing skills nor that the band can write really beautiful heartfelt songs. Listen to "This Must Be The Place (Naive Melody)" for proof that the man can sing and the band can touch my cold, dead heart. Awesome, love love love that little flute that lets the tune just float above you. "Heaven" is just Byrne and bassist Tina Weymouth; the stripped down look works perfectly for the sincere lyrics.

This is an excellent album straight through, as I haven't even mentioned the classics like "Once In A Lifetime." It's proof that the Talking Heads killed it live as much as they did in the studio. Go here and buy your copy of the Special New Edition, money well-spent.

Please Help Dylan! Pug! Friends! $!

How can you not help this little guy out?!?

No, this is not a request to help out Mr. Bob Dylan. It's much more important, as a little dog needs the help of the Pound for Pound masses. Little Dylan, pictured above, developed a possible brain infection Wednesday afternoon and his devoted owners, Alana and Dimitry, took him to the ER at the New York Medical Center, where he underwent tests. He's going to make it, which is great news, as the vet was able to figure out that there was nothing wrong neurologically and he is back home where he belongs. There is a chance he will need surgery on his leg down the road, however, but everything's ok now. Check out Alana's blog for the whole story and all of the photos mom has taken of her babies.

However, this is an insanely expensive process, so Dimitry and Alana need our help. Head to the bottom of this post and donate a few dollars through their paypal account. It's tough times out there, but this is a good cause and these are two of the best people I know in NYC. Let's do what we can, as I know there are lots of readers and who doesn't love pets and know what it's like to do whatever we can to help them out. Let's do this people! Get well Dylan! Yeah!

Greg Wilson Edits

D.C. LaRue, "DC Le Groove (GW Edit)" (YSI link)

Talking Heads, "Gotta Tape I Wanna Play" (YSI link)

I've been meaning to up some more recent music, but as a sign of where my head is at, the only thing I really felt a NEED to put up right now was these edits of old songs by Greg Wilson. Doh! Give these two edits a listen though and you will lose any doubts or complaints that this shit ain't the truth.

The first one, "DC Le Groove," is completely new to me, a re-edit of D.C. LaRue's "Ca-The-Drals." Unfortunately, I can't really say what Wilson has done to this one or how far he strays from the original, but I will simply that this song in and of itself is amazing, a funkified disco stomper that makes the world seem better. It starts off with bass and guitar, some percussion comes in and things start chugging along. Then, every 30 seconds or so you get a great blast of strings and horn noise, which evaporates quickly, leaving you back with the guitar, bass and drums.

The next one should be instantaneously recognized by Talking Heads fans (who isn't a TH fan?!?) as an edit of "Psycho Killer" from the Stop Making Sense soundtrack. Wilson has created a nice extended drum-heavy opening that makes this one dancefloor-ready. It doesn't sound to my ears like he's done a whole lot to the original, which comes in with David Byrne's "Hi, gotta tape I wanna play you" intro. The original features only Byrne, his guitar and the "tape," i.e. drum machine that provides the beat. Wilson adds more percussion, but mostly let's this amazing song breathe.

Lil' Jazzy Jay & Cool Supreme - B Boy Style

Lil' Jazzy Jay and Cool Supreme, "B Boy Style (club vocal)" (YSI link)

Lil' Jazzy Jay and Cool Supreme, "B Boy Style (dub instrumental)" (YSI link)

Yes, yes, more electro rap from the early days! I can't get enough of this stuff right now, so clean and stripped down, love it. Lil' Jazzy Jay & Cool Supreme are everything I love, those flashes that come into the musical world, make a quick mark and disappear forever, a little moment of divine inspiration that makes a small ripple on the music surface that we pick up years later.

The duo was actually producer Rae Cerrano (Cool Supreme) and John Byas (Jazzy Jay) and they dropped this single on Easy Street Records in 1985. This one's so dope, you will immediately be transported back to the 80s, hanging in a park with a boombox, a group of breakers and a large group of friends all dressed in too-short shorts and Kangols. I mean, there's vocoder vocals and nice freestlye female ones! Two for two! You also get some nice synths, a tinkling piano keys, lots of scratches and a cold, hard beat. Add in Jazzy Jay's raps and you have a personal favorite. For those who want to take out the raps, head to the dub instrumental version, which gives you just the female refrain and lots more scratching. Trust me, you need this one. B boys! B girls! Yeah!

Larry Levan - Live At The Paradise Garage Part 2

Larry Levan, Live At The Paradise Garage Disc 2 (YSI link) tracklisting in comments

Yeah! Yeah! Yeah! Give thanks! I finally remembered to do a post on the second disc from this recording of Larry Levan spinning at the Paradise Garage. Long-time readers will know that I had planned to do this months ago, but it got lost in the hiatus I took. But, it's here now and you need to download this. People, this is life. This is love. This is sex. This is joy. This is pain. This is heaven's soundtrack, as I hear it. I can't say enough about these two discs. Whenever I am feeling a little down or sad or uninspired, I throw these on the iPod and just let the music take me to a better place. There's no greater compliment I can offer a DJ.

RIP Mr. Levan, the world is lesser without you.

Ashford and Simpson - Set It

Ashford and Simpson, "Don't Cost You Nothin'" (YSI link)

Ashford and Simpson, "Send It" (YSI link)

Ashford and Simpson, "Bourgie Bourgie" (YSI link)

For those who have had a chance to listen to the first disc of the Larry Levan mix, you couldn't help but have been struck by the opening instrumental song, a beautiful, keys-driven tune that starts things out so perfectly and lushly. That tune comes off of Ashford and Simpson's Set It LP from 1977. Ashford and Simpson were Nickolas Ashford and Valerie Simpson, who actually originally made their name writing and producing hits for other artists, including Miss Diana Ross, Marvin Gaye and Chaka Khan. They worked at Motown working with a who's who of that label, but eventually left to make music on their own. Their names

This is their first album, one of many to come. This one is for the lovers in the audience, as Ashford and Simpson sing songs about love and sex in male-female duets. The music is mostly slower, soul-inspired stuff, not necessarily dancefloor burners. This is for those moments with your significent other, lying around the apartment, just hanging out together. In other words, this is grown folks music, not for the kids in their neon outfits partying to the latest electro remix. "Send It" was the only single to make the charts, a nice R&B slow jam featuring a flute, strings and piano that add up to something a little cheesy but still delicious. "Don't Cost You Nothin'" is a personal fav. It's all about this nasty bassline, gives the song a dirty, slinky feel that works perfectly with the back-and-forth male/female vocals. "Bourgie Bourgie" is the highlight, a perfect 6 minute instrumental that makes you feel like you are floating on a cloud.

No clue what we're going to be getting into this week coming up, so check in again soon and see what I'm feeling.

Larry Levan - Live At The Paradise Garage

Larry Levan, Live At The Paradise Garage Disc 1 (YSI link)

Wow, I killed Thanksgiving dinner, may have even eaten the plate in my gorging. Anyway, today is the day we give thanks for all that we have in life. I wanted to give thanks to all of my great readers, as you are the loves of my e-life. There's been an upswing in comments recently, which makes me so happy. I put comments right behind pastrami on rye on my top things in the world list, both of which are right behind sex and boobs.

I also want to give thanks for disco for saving my life. I can't think of more perfect musical statement of joy and giving thanks than this DJ set by Larry Levan at the legendary Paradise Garage. Throw this one on at some point this weekend and think of all the people you love, all of the great things in your life and all that is still to come. This is the soundtrack to those thoughts.

I've upped Disc 1 today for those who are newer readers. I promise to upload Disc 2 on Monday, as I had intended to do months ago. Celebrate! Happy Thanksgiving everyone!

B Beat Girls - Hearts A Hurricane

B Beat Girls, "Hearts A Hurricane (Vocal)" (YSI link)

B Beat Girls, "Hearts A Hurricane (Dub)" (YSI link)

During the break, I've begun to dip my toe back into the hip-hop waters, although I still can't say I'm hearing much new stuff that interests me (get at me and let me know what I'm missing currently). However, my love for the early days has only gotten deeper, as I'm becoming obsessed with those late 70s/early 80s tunes when rap came into being. What's most exciting about is to hear the days when rap was so open to dance and electronic music, where it was trying to find its legs.

This B Beat Girls track, "Hearts A Hurricane," is a great example of this period, with the girls rapping over a classic electro instrumental complete with weirdo synths that give it that necessary futuristic sound. I really like the raps on this one, but it's the sung refrain that I love. Gives it a bit of a freestyle feel and makes things much catchier than you would expect. As always, you get the dub for those who favor less vocals. Yeah!

Massimo Barsotti - Whole Lotta Love

Massimo Barsotti, "Whole Lotta Love" (YSI link)

Massimo Barsotti, "W.L.L. (Another Version)" (YSI link)

Italo! Yeah! We're staying in Europe for some more disco goodies, finally digging into the Italo disco crates to see how the Italian twist on the disco sound. This one is pretty crazy (in a good way), as Massimo Barsotti does an Italo cover of Led Zeppelin's "Whole Lotta Love." Weirdly, thanks to AB, I have started listening to Zeppelin again and been loving hearing some of their classic tunes again ("Tangerine" is my personal fav). However, a disco cover of one of their songs? Yes, please. Pound for Pound dream shit.

Barsotti is another artist who came out of the ether, dropped two singles in the early 80s and then disappeared again. I believe that's the extent of his output, although please let me know if he changed to an alias or what. Anyway, this one has all the markings of a burning Italo track - sleazy vocals, synths!!!, barebones drum machines. While Robert Plant sounds like a dude who really needs to get laid, Barsotti sounds like that dude who got laid the night before, plans to get laid again that night and every night for the foreseeable future. So calm and sleezed up, love love love it. I picture him walking into the club, possibly in Miami Vice Don Johnson white jacket with sleeves rolled up, saying hi to some friends, when he sees a gorgeous brunette on the dancefloor. The song takes place from this moment on, as he takes to the dancefloor and puts his spell on this woman. Her name is Monica, but the vision gets a little cloudy at this point.

FYI, the instrumental is even sicker, with an extra minute and a half of synth magic. There's also the occasional vocal moment, but this one's definitely for those not loving the vocals. Oh, and remember to add my blog in the upper right hand corner, 20 followers and counting! Yeah!

Cerrone - The Golden Touch (IV)

Cerrone, "Je Suis Music" (YSI link) 320

Cerrone, "Rocket In The Pocket" (YSI link) 320

Okay, I've got the computer back from the shop, I've finally come to terms with the fact that I am now living in a post-Obama, post-Phillies World Series Champions world. The time off has perhaps left many afraid that this blog would lose its way, no longer confident of its direction or what to post. Au contraire, these recent developments have only confirmed what I have always known - disco will save the world. Is it a coincidence that all of these great events happened once Pound for Pound made a disco turn? The answer is a resound "No!"

Let's jump right back into the deep end, heading to Europe to listen to one of its disco masters, Cerrone. Born Jean-Marc Cerrone in Paris, Cerrone would be one of the first to adopt the disco sound on the Continent. Dude was making music early, already signed to Barclay at aged 20. His late 70s, early 80s work has had a profound impact on all of the later French dance music like Daft Punk, who sampled the man.

Cerrone IV - The Golden Touch is one of those classic LPs, dropping on the Malligator label in 1978. Man, this one is so necessary, you will immediately imagine yourself in steamy, sweaty club, around 1 am, huge crowd dancing, music swirling all around you, balloons falling from the ceiling, nothing left to do but smile smile smile, yes yes yes. "Je Suis Music" is the highlight of the A side, an excellent slow-burning vocal track that is completely irresistible. A big, rubbery bass and solid beat holds it down, while the various horns and percussion take things to the next level of jublilation. I really love the vocals on this one; it's thing I miss most with all of the great recent cosmic and new disco stuff. "We all feel the pain, is it necessary?/ When we feel the pain better to stick together/Music is the way to relieve the pressure/Music all the way, do you get the message?" Love it. "

"Rocket In The Pocket" is about as subtle as the title, a nice rocking disco track. This one features some serious electric guitar jams, bordering on the cheese. I kinda like it, but I've never been a big fan of taking the guitar seriously (suck on that, rock critics!) You also get more female vocals, a heavier beat, less up-front horns and bass and even a rattler sound. Yeah! This one walks the line between real and cheese, rock and disco and it works for my ears nicely.

We're back people, all sucker blogs are warned.

Dances With White Girls

Dances With White Girls, Burning Bridges and Making Paper (YSI link)

Yes, yes, we've been gone for much too long. Unfortunately, my computer has been in the shop for the past 3+ weeks, leaving me completely out of commission, out of music and out of luck. All of that is about to change, so be on the lookout for regular posting shortly.

In the meantime, I had to get word out about this special event in NYC tonight. Friend of the blog and one of Pound for Pound's favorite DJs Dances With White Girls, a.k.a. Frog, a.k.a. The Man Who What makes tonight's party at Bar 13 so special? It's celebrating the much-anticipated release of DWWG's first EP, New Crack Swing, the latest release on The Rapture's Throne of Blood Records and the record that will set the blogs on fire for the rest of 2008. Frog is taking over the Girls & Boys party tonight at Bar 13 (35 E. 13th Street), a full-on Union Square takeover. Thug house for the masses. He's joined by Andy Pry, Daisy O'Dell and a special guest, who I imagine may have some connection to the label. Head over to the Boys and Girls Myspace page for more info including RSVP link. For the record, there are already close to 1500 people interested in this one on going.com. I will be one of those people, you should too.

For those not in NYC tonight, I've included Frog's latest mix, which should both enjoy top listening status and convince you to purchase the EP. You hear me? Purchase the EP! We'll have more to say on this man and his music, but this is an adequate intro. Yes yes, good good.

Williams - Love On A Real Train

Williams, "Love On A Real Train (Williams Odyssey mix)" (YSI link)

Williams, "Love On A Real Train (Version By Studio)" (YSI link)

I spent the night working on a cosmic mix. Two points: 1) Happy birthday to JH-B, the recipient of said mix! A Cosmic Birthday, yeah! 2) I'm in a cosmic state of mind. So, here's a phenomenal track from early this year, Williams' "Love On A Real Train," released on Love Triangle Music. While that label specializes in tech-house, this one fits in so nicely with the new disco scene that has developed over the past 5 years or so, that space-y, stretched out music that is the best thing going today imo.

I spent part of last night hearing some great NYC DJs like Mr. James Friedman, Ms. Louisahhh!!!, Mr. Cocco and Ms. Jess Jubilee spin tech-electro-house all night at The Delancey until the speakers couldn't take it. Fun night and great tunes, but it only served to reinforce that my head is just in a different place now. All I wanted was a nice, slow-burning song to come out of the ether, something that slowly fucked with my ears rather than having them bombarded. These two remixes for "Love On A Real Train" fit that bill, unfolding slowly but surely for those who have patience. Williams redid his own song with his Odyssey mix and he's done well again. This one raises the pressure, while keeping the sounds the same. It makes for a more dancefloor ready song and yet somehow it doesn't feel rushed either. Sweden's Studio turn in a sick remix, adding in some rad flamenco-y guitar action that makes me feel like I am on some Spanish beach waiting for the sun to go down. There's also a way funkier bass here that gives things a little more oomph. Awesome.

Sit back, put your headphones on and enjoy. Also, don't forget to add yourself as a fan of Pound for Pound. Click the link in the upper right hand corner and show your love. Thanks! Yeah!

Ashley Beedle - Dance and Shake Your Tambourine

Inner City Express, "Dance and Shake Your Tambourine (Beedle's Heavy Disco edit)" (YSI link)

Disco edits! Yeah! We did a post last week on "Dance and Shake Your Tambourine," the tune covered by the Universal Robot Band. The original by Inner City Express is hard to come by, but thankfully the master Ashley Beedle decided to drop an edit for the world to experience the original.

Beedle is one of those dudes who always has his hand in great music without becoming an ubiquitous figure. He was a part of the rave-y X-Press 2, made amazing house music with Rob Mello and Josh Howard as Black Science Orchestra and jazzy downbeat music in the Ballistic Brothers project. Dudes has even started three labels over the past decade plus - Afroart, Soundboy Entertainment and Ill Sun. Through it all, he has maintained an interest and love of disco, which has become much more clear recently with his amazing Heavy Disco edits.

This 12" is just pure bliss on a slab of vinyl. I want everyone to download these ASAP, put them on your iTunes or iPod, take 20 minutes out of your work day and revel in the beautiful sounds. I can guarantee you that Monday will seem a lot better and you will look forward to the week ahead and to falling in love and Obama being President. Let the horns and strings and guitars take you away from everything, as this is LIFE MUSIC people. Beedle has put his foot to the pedal on "Dance and Shake Your Tambourine," keeping it a burner right through. He's thankfully kept things mostly the same, including that little kazoo sound. There's a sick drum breakdown, those airy vocals and "oohs" and just the right amount of synths. All I can really say is wow. Grab a copy now.

Phreek - Weekend

Phreek, "Weekend (long version)" (YSI link)

Phreek, "Weekend (short version)" (YSI link)

Phreek, "Weekend (extended version)" (YSI link)

I got free guacamole from the Chipotle lady tonight, who I think may have been flirting with me, and now it's Friday afternoon and the weekend is here and it's just the perfect time for some classic disco.

Oh boy, you need this one in your life. I guarantee that Phreek's "Weekend" will be in the main rotation for a long time regardless of the day. It's one of those songs that will immediately lift your spirits as soon as you hear it, from those first rubbery bass notes and beautiful keys. This one was written and produced by the amazing Leroy Burgess and Patrick Adams, you can hear his touch with the all the little details, like the cowbells, gorgeous strings and shakers. It's all so well composed, all of these little pieces fitting into a magnificent big picture. The lyrics and vocals might even be better, as Christie Shire kills it on that front.

For everyone getting ready to head out, this one's for you. "It's party time, it's party time tonight." Enjoy, be safe, dance your asses off, fall in love.

Disco Saves Lives

Disco will save your life. Don't say I didn't warn you.

Cabaret Voltaire - The Original Sound Of Sheffield '78/'82

Cabaret Voltaire, "Do The Mussolini (Headkick!)" (YSI link)

Cabaret Voltaire, "Nag Nag Nag" (YSI link)

Cabaret Voltaire, "Obsession" (YSI link)

Cabaret Voltaire, "Loosen The Clamp" (YSI link)

[Ed. note: Sorry for the m4a files. I uploaded this CD a long time ago and didn't realize I had done so in this format. I don't have access to the CD at the moment, but hopefully once I get back to Philly, I'll be able to give everyone a HQ mp3. In the meantime, this should give you a taste of CV.]

It wasn't all disco and cocaine back in the late 70s. There was also a parallel electronic music scene that took its inspiration from the avant garde and punk than soul and funk. Cabaret Voltaire are one of the best examples of this dark dance music. A trio consisting of Richard H. Kirk, Stephen Mallinder and Chris Watson that formed in the early 70s, the band was supremely influential in developing the industrial sound. They themselves were influenced by the work of Beats like William S. Burroughs and Bryon Grisin, who experimented with the cut-up technique in which they would cut up their work into pieces and reorder them at random.

Enough background, let's get to the music. These songs come from the 2001 compilation, The Original Sound Of Sheffield '78/'82, on Mute Records that collected some of the band's best songs from the period of 1978-1982, the period when things first got rolling for the group. This early period features some of the bleakest, darkest music ever, a whole disc of feedback, distortion, manipulated sounds, tribal drum machine noises. There's definitely a pulse and rhythm here, somtimes buried under the static, this ain't bleeps and noises; check out the final song, "Loosen The Clamp," you will clearly hear that these guys were responding to the dance music coming out at the time. This isn't oontz-oontz dance music, but it's there, stripped to the bone. The funky bass, the mechanical, almost tribal drums and space-y keys create a hypnotic track that would influence lots of our favorite music still to come.

The earlier songs like the awesomely titled "Do The Mussolini (Headkick!)" come more out of the punk ether, with the main comparison that comes to my mind is the electro-punk sounds of Suicide. "Nag Nag Nag" is similar, starting off in feedback and never giving your eardrums much of break from there on out. There's some distorted vocals, a massive rhythm section that would make a rock band proud and that layer of feedback that drifts over the whole thing. Awesome stuff.

Obviously, I highly recommend picking up this CD from the excellent Forced Exposure, a great introduction to the group. We'll take a look at part of the look back which covers 1983-1987 and hopefully a lot more down the road, as we're gonna focus a lot more on this darker side of the dance music world. Oh, and I am going to be a little more active with my myspace page, so add me if you'd like some extra goodies. Yes? Yes!