Tapper Zukie ~ Man Ah Warrior [1973, Trojan, 2003] 320/FLAC

TJACD135

01. Man Ah Warrior
02. Ire Lion
03. I King Zukie
04. Simpleton Badness
05. Archie, The Red Nose Reindeer
06. Viego
07. Solomon A Gundie
08. Black Cinderella
09. Cally Dolly
10. When Zukie Day Yah
11. Message To Pork Eaters [aka Jahman A Come]
12. Dread On The Mountain Top
13. Hills Of Zion
14. Future Bridge
15. Drum Song
16. Liberation Struggle
17. Double Struggle
18. Born To Be Black [Extended Mix



Producer – Clement Bushay [tr: 1-11, 1973]
tr: 12-18 from the mid 70's

'This album is plainly insane. Legend has it that Zukie himself wasn't aware of the fact that this recorded material would actually be released, and was surprised coming back to England a few years later and seeing this LP in stores. Young Zukie was sent off to the UK by his relatives because he got involved in some trouble in Jamaica. In England he started to deejay for some soundsystems and at some point ran into Clement Bushay, who took him into a studio. This is the result.

The tracks are as rough as Perry's most insane material, only even a bit more rugged. There is tape-wheeling and all kind of noise in the background, the drums sound at times as they were cardboard boxes and bricks of wood. The lyrics are rather bizarre, even for Jamaican deejay standards [check out 'Archie The Red Nose Reindeer' and you'll keep wondering what is going on], but explode with powerful self-esteem, in intonation as well as content ['I King Zukie', 'When Zukie Deh Ya']. Listening through the whole album makes you question your sanity, but also gives you the vague yet certain feeling of witnessing something great. An insane studio session as well as the triggering point of Tappa Zukie's carreer as one of the most idiosyncratic and witty Jamaican toasters.' ~ killaswitch

some killa chit hear & one of the illest toasting joints. recorded when Tappa was a mere 18 years young & reished by Patti Smith [whom Zukie supported fer a few live shows in the day] on her MER label in 1977, just before he skyrocketed to super stardom & signed to Virgin. don't miss his dub record either, friend. further

James Blake ~ The Bells Sketch 12" [Hessle Audio, 2010]

HES011

A1. The Bells Sketch 4:17
B1. Buzzard And Kestrel 5:44
B2. Give A Man A Rod 4:34

Mastered at Metropolis. Side A plays at 45 RPM.Side B plays at 33 ⅓ RPM

more goodness from this prolific yungstar. unexpectedly delicious blend of skittering beats & alien tongue transmissions. try sequencing these in a mix with some of the wooly world music from this site. makes for a really effective contrast. 320 rips!

Cymande ~ The Message 2xCD 1972-74 [Castle,1999] 320 kbps

Vocals, Percussion - Joey Dee, Ray King
Guitar - Patrick Patterson
Bass - Steve Scipio
Congas - Pablo Gonsales
Drums - Sam Kelly
Saxophone [Alto, Soprano] - Derek Gibbs
Saxophone [Alto], Flute, Bongos - Mike Rose
Saxophone [Tenor] - Peter Serreo

'Cymande' - originally released 1972, JANUS JLS 3044
'Second Time Round' - originally released 1973, JANUS JLS 3054
'Promised Heights' - originally released 1974, JANUS JXS 7004

Remastered 2-cd set with their 3 albums for Janus, plus 3 previously unreleased trx

Cymande were an eclectic band who released a few albums in the early 1970's. Arriving in London, England from Guyana & Jamaica, they developed a subtle, deep funk style heavily influenced by calypso rhythms, jazz, African music, and American soul. The name Cymande is derived from a Calypso word for Dove, which symbolizes peace and love. By the mid '70s the band members were going their separate ways. It wasn't until 20 years later that they reaped any financial rewards, as their music became a popular source for samplers. Perhaps the band's best known recording is the soulful dancefloor groove 'Bra', later sampled by the American hip-hop group De La Soul in their song 'Change In Speak' [from '3 Feet High & Rising'], by Def Jef on 'Give It Here', & by DJ Kool on 'Let Me Clear My Throat'. The Fugees sampled "Dove" for the title track of their second album, 'The Score' in 1996. The list goes on and on, and it's obvious why: Cymande was da chit & tuffa den allah dem other bands combined :) surprisingly stellar sound fer a remaster from 99. 320 rips!

The Flying Lizards ~ Fourth Wall [Virgin, 1981] 320 kbps

A1. Lovers And Other Strangers 3:09
A2. Glide/Spin 3:30
A3. In My Lifetime 2:20
A4. Cirrus 1:24
A5. A-Train 5:09
A6. New Voice 5:42

B1. Hands 2 Take 4:05
B2. An Age 2:31
B3. Steam Away 4:47
B4. Move On Up - Curtis Mayfield 5:27
B5. Another Story 3:08
B6. Lost And Found 2:47



FX, Guitar, Harmonica, Keyboards, Mixing, Perc, Tape, Violin, Vox - David Cunningham
Vocals - Patti Palladin [A1, A2, A5, B1, B4]
Bass, Guitar, Keyboards - Steve Beresford [A1]
Guitar - Robert Fripp [A2, B6]
Drums - J.J. Johnson (3) (tracks: A1, A3, A5)
Keyboards, Vocals - Julian Marshall [A4, A6, B4]
Bass - Val Haller [A3, A5]
Saxophone - Gareth Sager [A5]
Baritone Saxophone - Keith Thompson [B1]
Bass - Ben Grove [B1]
Bass Clarinet - Edward Pillinger , Rory Allam [B1]
Horns - Anne Barnard [B1]
Piano - Michael Nyman [B1]
Rebec - Lucy Skeaping, Nick Hayley [B1]
Trombone - Steve Saunders [B1]
Vocals - Cheryl Lewis [A6]

'Led by pianist David Cunningham, the Flying Lizards started as [and largely continued to be] a novelty group that took classic rock songs and reduced them to parody with neo-Kraftwerk synthesizer minimalism and robotic deadpan vocal readings [as epitomized on the eponymous debut album by 'Summertime Blues' and 'Money']. The serious work shows Cunningham leaning towards the arty high-tech drone of Tangerine Dream, though, and that suffers from comparison with the inspired lunacy of the comedy turns.

Fourth Wall attempts to evolve a happy medium, with helpers including New Yorkers Pat Palladin and Peter Gordon and new-jazz artist Steve Beresford. Cunningham moves uneasily between electro-pop and trance music (as in Steve Reich and Philip Glass). Well-produced and interesting...' ~ Trouser Press

sophomore album from these weirds & what an enduring slab tiz. the only ting that don't still sound fresh is some of the tape hiss, but i can deal. truly one the classics of 'the genre', with Beresford & Fripp lending their skills on a couple tracks. most will need it for the Curtis cover alone but there is much more to be gleaned here. radikal

John Foxx ~ Metamatic [Virgin, 1980] 320 kbps RE-RIP

A1. Plaza
A2. He's A Liquid
A3. Underpass
A4. Metal Beat
A5. No-One Driving

B1. A New Kind Of Man
B2. Blurred Girl
B3. 030
B4. Tidal Wave
B5. Touch And Go

Engineer - Gareth Jones
Additional Bass - Jake Durant
Additional Synthesizers - John Barker
Written-By, Producer, Synthesizer, Drum Programming, Artwork By - John Foxx

Metamatic was released in January 1980 - the first synth album of the new decade



first solo outing for John Foxx after departing Ultravox! & simply one of the finest achievements in pop music, electronic or otherwise. this is the synth album that spawned a million imitators & still casts a long shadow over the scene that none can seem to eclipse. by 1980, Foxx had obviously learned a few tricks after having albums produced by both Brian Eno & Conny Plank with his former band. the stripped down yet wildly vibrant sound, surreally dystopian lyrics, cold atmosphere & minimal packaging. he seemed to know exactly what he wanted to do & how to achieve the results. & this is it, as Alan Watts might say. grab it from us or try yer luck elsewhere, but definitely dig! this is not a request. insightful interview here. 320 blips!

James Blake - Klavierwerke [R & S, 2010]

a1. klavierwerke
a2. tell her safe

b1. i only know [what i know now]
b2. don't you think i do



HYPE:
'Capping a very special year for James Blake, R&S drop the highly anticipated 'Klavierwerke', his most refined and sombre transmission to date. While his previous 12"s were defined by their unstable and unique sense of soul, these tracks have a more esoteric, modern classical air to them, clearly reflected in the monotone artwork and centre labels. It's like chamber music for the post-dubstep crowd, utilising lofty meditations on the techniques and feelings gleaned from the style, distilling their essence from a removed and considered standpoint. The title piece feels torn between wanting to be there, in the dance, and longing to be somewhere else entirely, sequestered in dancefloor solipsism, shutting out surroundings until rhythms are worn down to the faintest flickers of filtered drums creating a richly woven blanket in which to hide oneself from the world. 'Tell Her safe' is a little more optimistic, focussed on Blake's innate rhythmic intricacies and soul-burning chords, while 'I Only Known [What I Known Now]' slips back into that rarified sense of autumnal English melancholy, dappled with watery piano keys and deploying moments of reflective silence to stunning effect. Redressing the balance 'Don't You Think I Do' offers a spurt of tormented internal funk, making a brief but lasting closing statement. Held up against everyone else out there right now, this record is just essential.' boomkat

okayeah so i too tink this kid is doin interesting tings. i swear track 2 reminds me of squarepusher covering robert ahshley's 'automatic writing', gone dubstep. we dig repetition. another youngster with tremendous potential. would love to hear him collaborate with space dimension controller for a supramutagenic strain. in with the new. 320 blips

Terry Reid ~ Seed of Memory [1976] 320 kbps

A1. Faith To Arise 4:28
A2. Seed Of Memory 5:25
A3. Brave Awakening 6:27
A4. To Be Treated Rite 5:52

B1. Ooh Baby [Make Me Feel So Young] 4:03
B2. The Way You Walk 4:40
B3. The Frame 4:33
B4. Fooling You 7:13



Terry Reid: composer, guitar, vocals
Graham Nash: producer, vocal harmonies
David Lindley: acoustic/slide guitar and violin
Lee Miles: bass
Soko Richardson: drums
James Gadson: drums [5 & 6]
Ben Keith: pedal steel
Jesse Ehrlich: cello
Al Viola: balalaika
Plas Johnson: saxophone
Tim Weisberg: flute
Joel Bernstein: acoustic guitar [4]
Fred Wesley: horn
Clifford Solomon: horn
Blue Mitchell: horn

'Terry Reid moved to California in the mid-'70s, befriending a number of musicians from those parts & broadening his sound in the process. One result was this album, produced by Graham Nash and featuring David Lindley on acoustic and slide guitars. Seed of Memory isn't as heavy as his earlier work, and not remotely the bold, strident virtuoso rock production of his first LP -- most of it, apart from the vaguely Led Zeppelin-ish 'The Way You Walk,' is fairly laid-back by Reid's standards.

'Ooh Baby' tries for a kind of meld of funk and British blues. But several numbers, like 'Brave Awakening,' with its relaxed beat, high harmonies, and understated backing orchestration, or the ominous acoustic-textured 'To Be Treated Rite,' seem more like outtakes from Nash's Songs for Beginners or his subsequent albums, or one of Neil Young's mid-'70s albums, than they do like the work of one of England's most promising '60s bluesmen.' ~ some lame

first heard this bra many moons ago, rite round this thyme of year. there we was, watchin the devil's rejects [by roberto zombi] when we found ourselves extremely moved by several crosby stills & nash tunes in the soundtrack that we did not know. after a quick search in the engine, we came to find out it was this cat terry reid & thus managed to trace this righteous album, appropriately produced by graham nash who owlso contributes some soaring harmonies. further lore indicates that in the pre-embryonic stages of zep, jimmy page offered reid the lead-singer-slot in the burgeoning band & was turned down by terry who had contractual obligations, but lovingly recommended his mate bobby plant instead. & according to a nina simone interview from the period, reid was the only songwriter from the uk doing anything interesting in the early 70's [citation needed :-] where does that leave us then? with a high quality remaster of a sweet album. i'm pirty partial to side A & this one is worth it for those tunes alone in my humble estimation. 320 fanx to the originilluminator

Tony, Caro & John ~ All On The First Day [1972] @320

arrrr, peep my piratical sweaterrrrr

01. The Snowdon Song
02. Eclipse Of The Moon
03. Meg III
04. Snugglyug
05. Apocalypso
06. Sargasso Sea
07. Swordsman Of Samoa
08. There Are No Greater Heroes
09. Waltz For A Spaniel
10. Hole In My Heart
11. Morrison Heathcliff
12. Don't Sing This Song
13. Homecoming
14. All On The First Day
15. Swirling Sphere
16. Children Of Plenty
17. Forever And Ever
18. Tons Tons Macoutes



'Somewhere between the whimsy of The Incredible String Band and the stark beauty of Vashti Bunyan lie Tony, Caro and John. But it is better when Tony tells it. 'Fans of Fairport Convention, Incredible String Band, Pentangle, Bert Jansch, Espers, Vashti Bunyan... enjoy. All On The First Day by Tony, Caro and John was first issued in 1972, the result of a one year burst of creativity triggered by a lucky encounter between us -- three hippy folkie musicians and our first decent tape recorder... A lot has been written about the sixties and seventies as a social phenomenon, as a time of upheaval of values. However, at the time we had no idea that we were in some kind of historical transition. We were just being there. For all we knew, the eighties and nineties were going to be equally radical, or maybe there was not going to be any eighties and nineties at all. Vietnam was still raging, the Cold War was at its height, and nuclear destruction was just around the corner. But man, did we have a lot of fun. The only rule was anything goes, everything is equally valid. The songs were recorded by John on a Ferrograph tape recorder with track-to-track facility -- quite low tech even for the time, but the best we could do with almost no budget. The machine allowed us to overdub in mono but only by rerecording the backing track each time. That meant you had to play the part right and mix the backing track in at the right level all in one go -- tricky even on a good day. Luckily we didn't know the rules or we probably never would have started... After a while we figured enough people had told us they liked the tracks, and that we had enough outlets through friends, clubs etc., to put it out on a record, so we saved up our cash, chose our favorite tracks at the time and had them mastered at Eden Studios in South London. We pressed 100 copies, we sold them quite quickly, then moved on...' ~ Tony Dorè

perch merch

recently noticed this holy grail o' shimmering acid folklore has been re-ished on wax, so being the responsible sweetheart that i am [or total scum, depending on who you axe], it seemed an ideal occasion to drop the 'original' shadoks re-ish from moons ago & elevate awareness a twinge :) listen up me hearties cuz there are no greater heroes, than deez. 320k for the bit-racists, beautiful booklet incruded

Shirley Collins ~ The Sweet Primeroses [Topic, 1967]

A1 All Things Are Quite Silent 2:33
A2 Cambridgeshire May Carol 1:16
A3 Spencer The Rover 3:59
A4 The Rigs Of Time 3:08
A5 Polly Vaughan 2:42
A6 The Cruel Mother 5:48
A7 The Bird In The Bush 1:56
A8 The Streets Of Derry 3:27

B1 Brigg Fair 2:52
B2 Higher Germaine 2:40
B3 George Collins 3:41
B4 The Babes In The Woods 2:29
B5 Down In Yon Forest 2:23
B6 The Magpie's Nest 2:25
B7 False True Love 3:42
B8 The Sweet Primeroses 3:30



Vocals ~ Shirley Collins
Arranged By, Portative Pipe-organ ~ Dolly Collins [tracks: A1, A3, A7, B3, B5, B8]
5-string Banjo ~ Shirley Collins [tracks: A5-6, B2, B4, B7]
Guitar - Shirley Collins [tracks: A2, B1]
Chorus ~ Peter Bellamy, Royston Wood, Heather Wood
Recorded By - Bill Leader

likely our fav shirley collins joint. ya got her big sis dolly drippin those sweet electric harmonium droplets on many of these tunes & the young tradition chiming in on the choral parts. a 320 rip with scrounged booklet skans. pretty much unmissable if you're a singer

Danielle Dax ~ Jesus Egg That Wept LP [Awesome, 1984]

A1. Evil-Honky Stomp ~ Guitar, Other [Tapes] - David Knight
A2. Pariah
A3. Fortune Cheats ~ Guitar, Other [Tapes], Other [Metal] - David Knight

B1. Hammerheads
B2. Here Come The Harvest Buns
B3. Ostrich ~ Guitar [Solo] - Karl Blake
B4. The Spoil Factor





Bass - Danielle Dax (tracks: B3)
Drums - Danielle Dax (tracks: A3, B1)
Electronic Drums [Tr 808] - Danielle Dax (tracks: B2, B4)
Engineer - Jonathan Steyn (tracks: A1 to A3, B2, B3)
Flute - Danielle Dax (tracks: A2)
Guitar - Danielle Dax (tracks: A1 to A3, B3)
Kalimba - Danielle Dax (tracks: B3)
Keyboards - Danielle Dax (tracks: A2, B1, B4)
Mastered By [Cut] - Porky (5)
Other [Bottles] - Danielle Dax (tracks: B2)
Other [Metal] - Danielle Dax (tracks: A3)
Other [Tapes] - Danielle Dax (tracks: B1 to B3)
Other [Tv] - Danielle Dax (tracks: B2)
Photography [Cover, From The Film "the Chimera"] - Holy Warburton
Piano - Danielle Dax (tracks: A3)
Piano [Honky-tonk] - Danielle Dax (tracks: A1)
Producer, Vocals, Music By, Lyrics By - Danielle Dax
Saxophone [Tenor] - Danielle Dax (tracks: A3)
Synthesizer [Synths] - Danielle Dax (tracks: A2, B2)

2nd album from Danielle Dax after leaving the Lemon Kittens. i have a particular fondness for ms. dax, especially in this period of her creative endeavors. prolly not something for the folkies but perhaps the mutants & weird beards will appreciate her charms? very effective tape loop fuggery, innovative percussive elements, interesting lyrics, superb vocals... my missus thinks she's a 'stone fox' too, her words :) a 320 vinyl rip

Blackbeard ~ I Wah Dub [More Cut, 1980]

a1. electrocharge
a2. steadie
a3. jazzz
a4. reflections

b1. blaubart
b2. oohkno
b3. 'nough
b4. binoculars

Bass, Piano, Organ, Rhodes, Percussion, Engineer, Mixed By, Producer - Dennis Bovell
Engineer [Sound Effects] - Pat Stapely
Guitar - Dennis Bovell [1, 2, 4 to 8]
Written-By - Dennis Bovell [tracks: 1 to 3, 5, 8]
Drums: Drummie Zeb [1, 4, 6, 7 & 8]
Percussion: Jah Bunny [2, 3 & 4]
Polymoog: Nick Straker
Recorded & Mixed at Gooseberry's Studio

'Born in Barbados in 1953, reggae guitarist Dennis Bovell [sometimes known simply as Blackbeard] was one of the key figures on the London reggae scene of the late '70s & early '80s, not only as a solo artist but also as a producer. The band Bovell co-founded in the mid-'70s, Matumbi, was one of England's first self-contained reggae bands, and also one of the best; in addition, Bovell released several albums of solo dub experiments, which often featured jazz-pop keyboardist Nick Straker and producer Tony Mansfield [Captain Sensible, New Musik], both old school chums. As Blackbeard, Bovell released Strictly Dub Wize in 1978; he quickly became involved in production work for experimental post-punkers like the Slits and the Pop Group. I Wah Dub appeared in 1980 & found him delving further into electronic experimentation'

another nutter from the uk scene who was 'instrumental' in making the pop group & the slits sound perfect forever. another slept on album that deserves to be heard. anutta 320 rip

Prince Far I & the Arabs ~ Cry Tuff Dub Encounter, Chapter III [Daddy Kool, 1980]

A1 Plant Up
A2 Back Weh
A3 The Conquest
A4 Final Chapter

B1 Shake The Nation
B2 Homeward Bound
B3 Low Gravity
B4 Mansion Of Invention

* Steve Beresford – Synthesizer, Human Whistle, Melodica
* Bingy Bunny – Rhythm Guitar
* Errol "Flabba" Holt – Bass
* Prince Far I – Percussion, Producer
* Style Scott – Percussion, Drums
* Sowell – Guitar
* David Toop – Flute
* Ari Up – Background Vocals



by request, an enjoyable set of mutant dub from this supergroup of london space cadets, circa 1980. & thus begins roots reggae riddim dub week

perch merch

'Cry Tuff Dub Encounter Chapter III by Prince Far I and the Arabs was originally released in the UK by that most avuncular of record shop proprietors Keith Stone of Daddy Kool. The whole affair was racked out in rapid studio time, conforming with the can-do ethics of the day - not to mention the lack of cash. The set features super-heavy deliveries by the Prince, pre-ambient doodlings and quirky noises from David Toop and Steve Beresford, and backing vocals of Ari Up from the Slits. The album is important for those concerned with the history of reggae in the UK. It marked the handing on of the producer's baton from Far I to Sherwood, soon to launch On U Sound at a time when many critics considered reggae to be a finished force.'

Deux Filles ~ Silence & Wisdom [Papier Maché, 1982]

Boy Side

A1. The Letter
A2. L’intrigue
A3. Drinking At A Stream
A4. Oakwood Green
A5. Children Of Clay
A6. Sur La Plage
A7. Her Masters Voice

Girl Side

B1. The Draw In Room
B2. She Slides
B3. Fleur’s Dolls
B4. Mortuary
B5. The City Sleeps
B6. Birds
B7. Silence And Wisdom
B8. Festival

'The short, mysterious career of the aptly named female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in a grisly auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers, where Forque had lived from birth to the age of five. Theories from abduction and murder to a planned disappearance to spontaneous human combustion have been floated, but in the ensuing years, not a trace of the duo has turned up except for a mysterious letter purportedly written by Coule claiming that the pair journeyed to India on a spiritual quest, only to meet with further hardships. Indeed, the short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.

This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London having a giggle. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's Silence & Wisdom and 1983's Double Happiness. After that, the duo scrapped the Deux Filles concept and released two ambient pop albums as Jeremy's Secret.

Deux Filles is a duo of exquisitely talented multi-instrumentalists who are no strangers in the avantgarde territory for they both achieved considerable success outside mainstream. Producing indescribably beautiful music, both their Deux Filles albums - 'Double Happiness' & 'Silence & Wisdom' are now rare to find - music the world is sadly missing in greater quantities - reconciling electronic soundscapes, emotional acoustics, occasional doses of spooky tissue and exotic touches, all of which simply defy categorisation - except the word 'masterpiece'. ~ discogs

a masterpiece, 320 glorious bits later ;)

Milk from Cheltenham - Triptych of Poisoners [It's War Boys] 1983 UK

01 The Man Who Cried 2:20
02 Where Is The Money To Come From? 0:56
03 Mr. Fridge 1:38
04 International Questionnaire 0:42
05 What About Air War 2:15
06 Do The Ready Can 2:07
07 Decisions 0:57
08 Snappy Fingers 2:44
09 The Plan Must Rule 1:12
10 El Toro Saldrà Cuando Suena El Clarin 6:40
11 Our Dictator 1:08
12 Invitation To Action 2:56
13 Das Elefantenkalb 4:01
14 Air - Sound - Light 1:36
15 Passport To Happiness! 1:56
16 Triptych Of Poisoners 2:18
17 Krazy Golf 2:10
18 Can A Vacuum Cleaner Really Work Quietly? 0:50
19 The Geek 3:39



Brass - Miss Blick
Cello - Sandhya E
Drums [Kettle], Percussion - Lance Hunter
Executive Producer - Emanuele Carcano
Featuring - Lepke Buchvalter , Salamander, Victorr Lounge
Piano [Grand] - Veronique
Producer - Christopher Grey , Milk From Cheltenham , Xentos Bentos
Recorded By - Chris Grey , L. Voag , Milk From Cheltenham , Peter Bullen , Thoth
Saxophone, Engineer [Dubbing] - Peter Bullen
Vocals [Vox Humana] - Susanne Browne

'Amos [aka L. Voag] of the Homosexuals released this gem on his It's War Boys label in 1983, in a limited run of a measly 300 copies. The material was recorded, mostly on a cassette recorder, between 1979-1981, and although band leader Lepke claims to have wanted Milk from Cheltenham to sound like the Beach Boys, Triptych of Poisoners is a barrage of twisted avant pop, art rock, sound collages, and experimental noise that bears some semblance to This Heat, Resident, Zoviet France & Henry Cow, but primarily explores uncharted musical waters. highly recommended'

prolly not one for the strictly global village musique lovers [too noisy & lo-fi] but we endeavour to provide a lil sumptin fer every stripe. 19 post punk passports to peppiness

Daphne Oram ~ Oramics [Paradigm]

keepin it reel to reel

paintin on film

oramics machine

knob twiddlin with petey sellers

Daphne Oram [1925 – 2003] was a pioneering British composer & electronic musician. The first woman to create & run a sound studio & subsequently design & build an entirely new sound recording medium, she created the 'Oramics' technique at the BBC Radiophonic Workshop in England. This method of musique composition & performance was intended by Oram to allow a composer to be able to draw an 'alphabet of symbols' onto a set of ten sprocketed synchronised strips of 35mm film which covered a series of photo-electric cells that in turn generated an electrical charge to control the sound frequency, timbre, amplitude & duration & feed it through a machine that would, in turn, produce the relevant sounds on magnetic tape. The output from the instrument was only monophonic relying on multitrack tape recording to build up polyphonic textures.

Educated at Sherborne School For Girls, Oram was, from an early age, taught piano & organ as well as musical composition. In 1942 she was offered a place at the Royal College of Music but instead took up a position as a Junior Studio Engineer and 'musique balancer' at the BBC. During this period she became aware of developments in "synthetic" sound and began experimenting with tape recorders. She also spent some time in the 1940s composing music, which remained unperformed, including an orchestal work entitled Still Point. In the 1950s she was promoted to become a music studio manager and, following a trip to the RTF studios in Paris, began to campaign for the BBC to provide electronic music facilities for composing sounds and music, using electronic music and musique concrète techniques, for use in its programming. In 1957 she was commissioned to compose music for the play Amphitryon 38. Using a sine wave oscillator, an early tape recorder & some self-designed filters, she produced the score from only electronic sources; the first of its kind at the BBC. Along with fellow electronic musician and BBC colleague Desmond Briscoe, she began to receive commissions for many other works - including a significant production of Samuel Beckett’s All That Fall. As demand grew for these electronic sounds, the BBC gave Oram and Briscoe a budget to establish the BBC Radiophonic Workshop in early 1958, where she was the first Studio Manager.In October of that year, she was sent by the BBC to the "Journées Internationales de Musique Expérimentale" at the Brussels World’s Fair [where Edgard Varèse demonstrated his Poème électronique]. After hearing some of the work produced by her contemporaries and being unhappy at the BBC's music department's lack of interest, she decided to resign from the BBC less than one year after the workshop was opened, hoping to develop her techniques further on her own.

In 1959 she installed her Oramics Studios for Electronic Composition in Tower Folly, a converted oast house at Fairseat, near Wrotham, Kent. Her output from the studio, mostly commercial, covered a far wider range than the Radiophonic Workshop, providing background music for not only radio and television but also theatre and short commercial films. She was also commissioned to provide sounds for installations and exhibitions. Other work from this studio included electronic sounds for Jack Clayton's 1961 horror film The Innocents, concert works including Four Aspects and collaborations with opera composer Thea Musgrave and Ivor Walsworth

In February 1962, she was awarded a grant of £3500 from the Gulbenkian Foundation to support the developments and research of her "Oramics" drawn sound technique. A second Gulbenkian grant of £1000, awarded in 1965, enabled the Oramics composition machine to be completed. The first drawn sound composition using the machine, entitled 'Contrasts Essonic' was recorded in 1968

Throughout her career she lectured on electronic music and studio techniques. In 1971 she wrote An Individual Note of Music, Sound and Electronics which investigated electronic music in a philosophical manner. Besides being a musical innovator her other significant achievements include being the first woman to direct an electronic music studio, the first woman to set up a personal studio and the first woman to design and construct an electronic musical instrument

In the 1990s she suffered two strokes and was forced to stop working, later moving to a nursing home. She died in 2003, aged 77. r.i.p. Daphne Oram 1925-2003. further

dubble disque set from this amazing human being. i think she raised goats too. what a babe. it should be noted that in the first trauqe, 'introduction', her voice gets slightly truncated toward the end. they probably could have done a fade-out or something but this is exactly how the original release sounds, so please don't let it discourage you from hearing the remainder of these compositions. 320 thanks to espilos.

10cc ~ Sheet Music LP [UK, 1974]

UK Records
UKAL 1007
1974

A1. The Wall Street Shuffle
A2. The Worst Band In The World
A3. Hotel
A4. Old Wild Men
A5. Clockwork Creep

B1. Silly Love
B2. Somewhere In Hollywood
B3. Baron Samedi
B4. The Sacro-Iliac
B5. Oh Effendi

Eric Stewart – guitars, keyboards, vocals
Lol Creme – guitar, keyboards, percussion, vocals
Graham Gouldman – bass guitar, guitar, percussion, vocals
Kevin Godley – drums, percussion, vocals



10cc's second album was the next phase in what guitarist Eric Stewart called the band's 'masterplan to control the universe. The Sweet, Slade, and Gary Glitter are all very valuable pop,' he proclaimed, 'but it's fragile because it's so dependent on a vogue. We don't try to appeal to one audience, or aspire to instant stardom, we're satisfied to move ahead a little at a time as long as we're always moving forward.' Sheet Music, perhaps the most widely adventurous album of what would become a wildly adventurous year, would more than justify that claim. 'It grips the heart of rock'n'roll like nothing I've heard before,' raved Melody Maker, before describing 10cc as "the Beach Boys of 'Good Vibrations,' the Beatles of 'Penny Lane,' they're the mischievous kid next door, they're the Marx Brothers, they're Jack and Jill, they're comic cuts characters, and they're sheer brilliance." Stewart certainly agreed -- he told that same paper, 10cc's music was 'better than 90% of the sheer unadulterated crap that's in the charts' and, 20 years on, bassist Graham Gouldman continued, 'Sheet Music is probably the definitive 10cc album. What it was, our second album wasn't our difficult second album, it was our best second album. It was the best second album we ever did.' Three hit singles spun off the record, and most of the other tracks could have followed suit; it says much for Sheet Music's staying power that, no matter how many times the album is reissued, it has never lost its power to delight, excite, and set alight a lousy day.

320 vinyl drop of one of my fam's most played records. a mind bending shot of biting wit & irreverent social commentary cleverly disguised as sublimely superb genre-defying pop musique. catchy 4-part candy-coated harmonies collide with infectious riffs, bizarre tempo shifts, weird keyboards & innovative percussion. this one stays in perpetual rotation round here with lyrics that still make me laugh aloud. surely a testament to its timelessness & as thoughtfully pointed out by Josh in the comments [thank you], sampled by J Dilla [R.I.P.]. gold standard schtuff with tongue planted firmly in cheek