Best known as a jungle and then Drum and bass don, although always an outsider within that scene, Shy FX also does a neat sideline in pop productions too, like this radio version of Roots Manuva's current single 'Again & Again'.
AGAIN AND AGAIN
A good excuse for plastering the blog wall with a few other Shy greats; always driving, usually pretty miminal and ruthlessly dancefloor-oreintated.
BAMBAATA
or if you prefer the original dancehall jungle of his early days...
GANGSTA JUNGLE
Sunday 31 August 2008
Saturday 23 August 2008
Stump: Charlton Heston
This has always been one of my favourites since the mid 80s but it was only this morning I discovered that another of my top artists, namely Camberwell's own Mixmaster Morris aka The Irresistible Force, oversaw its sampling and production. Makes sense really.
Wednesday 20 August 2008
Games For May
A review of a recreation of Pink Floyd show at the Queen Elizabeth Hall in the summer of 1967, 40 years to the day.
It was one of the first things I sent to The Guardian blog site and it didn't make the grade, but for the sake of posterity and the thought that some mad trainspotter might be interested, here goes...
and for those of you who don't do 'text' anymore, there's a film of Syd Barrett enjoying nature's flora and (especially) funghi to keep you hooked.
GAMES FOR MAY
LONDON SOUTH BANK QUEEN ELIZABETH HALL
At first glance, recreating the Syd Barrett-era Pink Floyd's live set from 1967 seems like an idea better suited to one of those tribute band venues where the Stoned Roses or Counterfeit Stones ply their trade, rather than taking up valuable cultural space on the South Bank.
Having names like Blur guitarist Graham Coxon, the cellist from Belle and Sebastian and Madness drummer Woody on board certainly helps elevate the event above the realms of the purely pantomine experience, as well as ensuring a healthy turnout of the relatively young. But ultimately it's the way that Games For May's instigator and longtime psychedelic veteran Robyn Hitchcock brings alive the spirit of this classic and highly influential cannon of eccentric pop that makes it such a memorable evening.
Taking on vocal and guitar duties, he steers an ever shifting ensemble of musicians through the band's 'Piper At The Gates Of Dawn' and 'Saucerful Of Secrets' albums, interspersing the experimental but surprisingly catchy songs with quips that often have the audience in stitches. But equally he plugs effortlessly into the deep emotional resonance of Barrett's more acoustic solo work - imagine Nick Drake with three times the chords and lyrics that make you laugh - a big chunk of which opens the show's second half and proves the night's ultimate highlight.
That's not to take away anything from the instant charm of better known tracks like 'Arnold Layne', about a miscreant who steals ladies' underwear from washing lines by moonlight, and 'See Emily Play', either of which could be mistaken for Britpop-era Blur. But their influence stretches much further than that, arguably far wider than that of multi-million selling later LPs like 'Dark Side Of The Moon' or 'The Wall'. As Hitchcock quite rightly says, the quirky skanking of 'Bike' does sound like a Madness song.
But when he describes the driving instrumental 'Interstellar Overdrive' as "the beginning of prog rock", he misses the fact that its descending, one-riff powerhousing is also a blueprint for generations of garage rock from MC5 and Sonic Youth through to the White Stripes.
Of course, the lack of tribute band-style dressing up does deprive Hitchcock of the chance to re-enact Barrett's party piece, namely emptying a pot of Brylcream and crushed up pills on his head before the show began, giving the impression he was a melting human candle once the onstage lights warmed up. But the presence of the Floyd's original lightshow team and much of the equipment used at their legendary 60's 'happenings' means there's no shortage of visual thrills either.
It was one of the first things I sent to The Guardian blog site and it didn't make the grade, but for the sake of posterity and the thought that some mad trainspotter might be interested, here goes...
and for those of you who don't do 'text' anymore, there's a film of Syd Barrett enjoying nature's flora and (especially) funghi to keep you hooked.
GAMES FOR MAY
LONDON SOUTH BANK QUEEN ELIZABETH HALL
At first glance, recreating the Syd Barrett-era Pink Floyd's live set from 1967 seems like an idea better suited to one of those tribute band venues where the Stoned Roses or Counterfeit Stones ply their trade, rather than taking up valuable cultural space on the South Bank.
Having names like Blur guitarist Graham Coxon, the cellist from Belle and Sebastian and Madness drummer Woody on board certainly helps elevate the event above the realms of the purely pantomine experience, as well as ensuring a healthy turnout of the relatively young. But ultimately it's the way that Games For May's instigator and longtime psychedelic veteran Robyn Hitchcock brings alive the spirit of this classic and highly influential cannon of eccentric pop that makes it such a memorable evening.
Taking on vocal and guitar duties, he steers an ever shifting ensemble of musicians through the band's 'Piper At The Gates Of Dawn' and 'Saucerful Of Secrets' albums, interspersing the experimental but surprisingly catchy songs with quips that often have the audience in stitches. But equally he plugs effortlessly into the deep emotional resonance of Barrett's more acoustic solo work - imagine Nick Drake with three times the chords and lyrics that make you laugh - a big chunk of which opens the show's second half and proves the night's ultimate highlight.
That's not to take away anything from the instant charm of better known tracks like 'Arnold Layne', about a miscreant who steals ladies' underwear from washing lines by moonlight, and 'See Emily Play', either of which could be mistaken for Britpop-era Blur. But their influence stretches much further than that, arguably far wider than that of multi-million selling later LPs like 'Dark Side Of The Moon' or 'The Wall'. As Hitchcock quite rightly says, the quirky skanking of 'Bike' does sound like a Madness song.
But when he describes the driving instrumental 'Interstellar Overdrive' as "the beginning of prog rock", he misses the fact that its descending, one-riff powerhousing is also a blueprint for generations of garage rock from MC5 and Sonic Youth through to the White Stripes.
Of course, the lack of tribute band-style dressing up does deprive Hitchcock of the chance to re-enact Barrett's party piece, namely emptying a pot of Brylcream and crushed up pills on his head before the show began, giving the impression he was a melting human candle once the onstage lights warmed up. But the presence of the Floyd's original lightshow team and much of the equipment used at their legendary 60's 'happenings' means there's no shortage of visual thrills either.
What a prat
I can think of at least two reasons (see below) why Alan McGee is being a bit prattish for slagging off My Bloody Valentine. I saw them play the first afternoon of Reading 1989- the first indie Reading - and they left a big question mark, but I wouldn't be without this pair. Both just ooze out of the speakers and sound like nothing else.
At least they have the balls to admit when they think they've been shit too. I don't see him doing that, though it would take a long time.
We Have All Time In The World
Shoegazing, eh? It gets a bad name these days but some of it was OK.
Soon (Andy Weatherall remix)
At least they have the balls to admit when they think they've been shit too. I don't see him doing that, though it would take a long time.
We Have All Time In The World
Shoegazing, eh? It gets a bad name these days but some of it was OK.
Soon (Andy Weatherall remix)
Thursday 14 August 2008
SILVER MACHINES
When are Lydon and Lemmy going to make a record together?
SEX PISTOLS 2008
JARVIS COCKER 2006
HAWKWIND 1972
SEX PISTOLS 2008
JARVIS COCKER 2006
HAWKWIND 1972
Forgemasters
At the same time as Orbital and LFO were kicking off British techno, there was another name that ruled the dancefloor that's since been all but forgotten. I was interviewing V Recordings' boss Bryan Gee this week and he mentioned the pivotal role in UK dance music played by Sheffield trio Forgemasters.
The first ever Warp Records release was 'Track With No Name' by the Sheffield trio (Robert Gordon, Winston Hazel and Sean Maher) and its torrent of bleeps, sub-bass and skittering electro drum machines still sounds effortlessly classy and atmospheric after 17 years.
Rob Gordon of Forgemasters also made a succession of amazing sampladelic records for indie bands like Pop Will Eat Itself, Age Of Chance and others as FON, which should be a familiar logo for those of us buying records in 1989. This clip contains not one but two, the first (Poison To The Mind) remaining a firm favourite. The second's worth a listen if you fancy a quick game of spot the Siouxsie sample.
The first ever Warp Records release was 'Track With No Name' by the Sheffield trio (Robert Gordon, Winston Hazel and Sean Maher) and its torrent of bleeps, sub-bass and skittering electro drum machines still sounds effortlessly classy and atmospheric after 17 years.
Rob Gordon of Forgemasters also made a succession of amazing sampladelic records for indie bands like Pop Will Eat Itself, Age Of Chance and others as FON, which should be a familiar logo for those of us buying records in 1989. This clip contains not one but two, the first (Poison To The Mind) remaining a firm favourite. The second's worth a listen if you fancy a quick game of spot the Siouxsie sample.
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