Extended Play http://www.extplay.com Sat, 15 Sep 2012 10:06:16 +0000 en-US hourly 1 http://wordpress.org/?v=3.5.2 Blaze / 25 Years Laterhttp://www.extplay.com/2012/09/blaze-25-years-later/ http://www.extplay.com/2012/09/blaze-25-years-later/#comments Sat, 15 Sep 2012 10:06:06 +0000 Simon http://www.extplay.com/?p=413 25yrs Later

Way back in the day there were no house albums. House Music I mean. This is obvious I guess – way back in the day there were no hip-hop albums either, more or less because there was no hip-hop.

It has to start somewhere (and please don’t tell me that hip-hop began in the cotton fields/with Cassius/Last Poets/chain-gangs/Africa-ca-ca-ca all of which were raised – plus more – in a forum discussion of recent: you know what I mean).

And so it was with House Music 1.

From 1986 there were singles galore – by mid 1988 you could almost say the planet was awash in jack. Next came compilations and there were hundreds. Jack This, Jack That, Jack’s Greatest Hits, Jack Went To London, Jack to the Underground, Jack on 45 and so on. The Germans were particularly ruthless in compiling every sonic fart recorded with an Roland 808 or 303 machine in Chicago or New York onto a shoddily pressed and overly compressed LP complete with the obligatory ”House Megamix” from some DMC hack remixer (Sanny X where are you?) on side four.

The first artist albums were slow to come and the earliest were just collections of singles with a few extra tracks added to fill it out – in the honoured industry tradition that played a big part in killing the album as a dominant format.

One of those was Fingers Inc.’s Another Side, a monumental long player despite its knocked together origins – but I’ll get to that in weeks or months to come as I find time.

Then came the DJ International albums – the long players built around the line of big club hits released by Tyree Cooper, Fast Eddie and – this one was actually very good but it’s forgotten – Joe Smooth. In New York Todd Terry‘s mutant slicing of hip-hop and house produced an album under each of his pseudonyms, but mostly they were still just singles padded out.

Then there was Ten City. And really they were the first. Produced by one of the new house wunderkids, Marshall Jefferson, the first Ten City singles arrived in 1988 from out of nowhere and they immediately added another dimension – almost a rupture if you will – to the raffish rawness that had defined house to that time, by adding house rhythms and production techniques to classic hamonised rhythm and blues that could draw a comfortable line back via groups like The Bluenotes, The Temptations and The Miracles to street corner doowop and gospel vocal ensembles like the Soul Stirrers and The Ravens. Their debut album, Foundation, in 1989 was the very first soul album to evolve from the House revolution.

And without being obvious in its on-the-sleeve it also seemed to draw from the classic garage and early pre-garage recordings that had exploded in the New York club scene in the 1970s and 1980s on labels like Prelude, Salsoul and West End (once again: read Jahsonic kids).

Which takes us to Blaze and the parallel sound of urban New Jersey.

Blaze, 1989

As Ten City were restating the vocal group Chicago, Blaze, formed in 1984, were doing the same on the US East Coast.

The early Blaze were a trio, releasing a quartet of singles for back-room indies in mid to late 1980s, and it’s this trio, Kevin Hedge, Josh Milan and Chris Herbert that we’re concerning ourselves with here (Herbert left after this album).

Of those early singles I absolutely loved – and still do – this one:

And then came 25 Years Later. On Motown – this at the tail end of the time when being signed to the soul label really, really meant something. PolyGram/Universal had still to turn it into the watery conduit for anything with a dark skin regardless of the quality of the product – it was a huge thing. Atlantic with their street-grit soul history made sense for Ten City, but no other major label had taken the plunge into house music or anything close.

And thus, for arguably the most soulful of the soulful and exquisitely produced of the early house acts, Motown was both significant and absolutely appropriate.

And Blaze delivered.

25 Years Later was both a thematic protest album (especially on the compact disc which had more tracks and interludes) built around urban black activism, and a celebration of Black musical heritage and musical consciousness of the 1970s and early 198os. It articulately fused together Marvin, Curtis, Sly, Gil and more with the new music and as a result was critically acclaimed by both the UK & European media who understood house music, and by the US Black media who were still utterly confused by it.

Sadly it sold nothing at all and was swiftly deleted by a staggering Motown in the midst of a swarm of corporate realignments and takeovers as Berry Gordy tried to get out, and by the time the dust settled and PolyGram owned the company Blaze had been dumped and Chris Herbert had departed taking his voice with him.

The other two carried on with the name and became one of the biggest house acts of the mid 1990s, and 2000s, although they were never again able to create an album like the wonderful 25 years Later – a long player that had a brief Japanese (of course) reissue in the 2000s and a couple of bootleg pressings but otherwise has been unavailable since the early ’90s in it’s released form.

Enjoy…

Lover Man:

All That I Should Know:

So Special:

http://youtu.be/nzmP_fJ_5vM

Gonna Make It Work:

Get Up:

Miss My Love:

And finally the glorious Timmy Regisford skanking 12” mix of We All Must Live Together:

 

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All that Glitters….http://www.extplay.com/2012/08/all-that-glitters/ http://www.extplay.com/2012/08/all-that-glitters/#comments Mon, 06 Aug 2012 23:54:32 +0000 Simon http://www.extplay.com/?p=542 Heh…

Rocky Horror Picture Show

The above is the publicity shot for the 1978 New Zealand showing of The Rocky Horror Picture show, which featured gilded UK glammer Gary Glitter as lead. On the right is Zero, my flatmate at the time (and still a close friend), also singer for aspiring Enzild punkatroids  The Suburban Reptiles, who were about to a) release the classic Saturday Night Stay At Home, and b) publicly fall apart with some acrimony. The Auckland afterparty was at our flat in Parnell.

Below, she’s in a series of shots taken by the Auckland Star’s photographer, (allegedly so the caption goes) putting on her make up for said show. As the artist formerly known as Jimmy Joy (or was it Lino Clone that week, Jim?) said on a prominent social network: I do like the way Zero starts her make up session – wearing make up.

Zero doing make up

So yes, in July 1978 Gary Glitter came to New Zealand.

This was not the first time: in June 1975 he toured with The Glitter Band but we all thought we were too cool to go. We loved Roxy Music (who toured the same year –  a month earlier. I went) and David Bowie (damn, I would’ve crawled across broken oyster shells – if only). I also went to Elton’s massive Yellow Brick Road tour show at Western Springs in 1974. Reggie was on the cusp – albeit the wrong side of the fulcrum as would soon become obvious – of okay then, with the boots and the glasses.

Bolan, like glam-era Bowie, never gave us a showing. It’s a shame.

It’s also a shame we were too cool to Glitter out. Sure the average age was vaguely post-pubescent, but it was about those drums. The Glitter Band defined the sound that defined big parts of rock’n'roll thereafter.

Witness:

http://www.youtube.com/watch?v=JQkActP-isE

Paul Cook blatantly lifted The Sex Pistols’ whole rhythm pattern from The Glitter Band – he was absolutely open about this, and was himself widely copied in the years afterward. The generation that gave us 1976 were the generation that entered their mid-teens to the glitter stomp. They added noise and words that (sometimes) mattered. We called it UK Punk Rrrrock.

Middle America got it some 13 years later. They called it, amongst other things, Nirvana.

Dave Grohl was always a poor photocopy of Paul Cook and thus the line is drawn. Gary Glitter may have been, and indeed was, guilty of some pretty heinous crimes (under his own name – Paul Gadd), but one he’s yet to be held accountable for are the awful Foo Fighters.

Or Green Day.

What really hits me though, is that Glitter’s trek through New Zealand was only some three years after his last really big UK hit, the uncomfortably titled “Doing Alright with the Boys”. Prior to that he’d had ten Top 10 UK (and global, although the Yanks never got it – they had the same problem with Bowie, Bolan and Roxy: freaks and fags one and all) hits since 1972. He’d sold millions of records. Tens and tens of millions.

And yet, here he was in mid 1978 doing a touring production of The Rocky Horror Picture Show in a small, pretty parochial at the time, backwater country, for, I guess the work and thus bucks.

Pop’s fame and fortune is fucking whimsical. Is Tone Lōc still working in the car wash?

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Tall Black Guy – Therapy Chop Sessions EPhttp://www.extplay.com/2012/08/tall-black-guy-therapy-chop-sessions-ep/ http://www.extplay.com/2012/08/tall-black-guy-therapy-chop-sessions-ep/#comments Sat, 04 Aug 2012 07:51:29 +0000 Simon http://www.extplay.com/?p=531 On a discovery day, Peter Darlington pointed me towards this wonderful EP. And in doing so he allowed me to work out whether the Bandcamp plugin finally worked – after weeks of muddling around trying to get the thing to gel with what is a pretty basic WordPress template.

It works – and so does this EP:

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Patti Jo – Ain’t No Love Lost (Leftside Wobble Edit)http://www.extplay.com/2012/07/patti-jo-aint-no-love-lost-leftside-wobble-edit/ http://www.extplay.com/2012/07/patti-jo-aint-no-love-lost-leftside-wobble-edit/#comments Mon, 30 Jul 2012 14:58:58 +0000 Simon http://www.extplay.com/?p=522 One of my all-time desert island (dancefloor) tunes reworked perfectly by Leftside Wobble:

[soundcloud url="http://api.soundcloud.com/tracks/54589058" params="auto_play=false&player_type=artwork&color=ff7700" width="450" height="450" iframe="false" /]

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Guest Post: Peter Darlington – Generationshttp://www.extplay.com/2012/07/guest-post-peter-darlington-generations/ http://www.extplay.com/2012/07/guest-post-peter-darlington-generations/#comments Sun, 29 Jul 2012 22:49:55 +0000 Simon http://www.extplay.com/?p=504 As the first of an infrequent series of guest posts I asked my friend Peter Darlington to offer up a few words and sounds. The idea of these posts is that there is no idea – the writer has a free forum to say whatever they like about whatever they want as long as it relates to this blog’s loose theme: music.

The only curation offered by me is that the writers are people who I think have extraordinary musical taste. Thus…..

———–

Recently, my 17 year old son Tom and I have started a radio show on Nelson’s community station Fresh FM. The show is called Generation Beats and aims to join the musical dots between our generations. Our house has always been filled with music and for a long time my tastes have ventured towards funk, soul and reggae, including dub and various electronica. Tom’s tastes veer more towards big house, electro, drum and bass, and dubstep, but as he’s gone on his own musical journey he’s picking up on the musical roots buried inside the newer tunes he listens to.

The first time he came to me about this was when he heard me playing Max Romeo’s I Chase the Devil.

http://www.youtube.com/watch?v=uijFctBM47M

This song was part of the War Ina Babylon album, one of the classic Lee Scratch Perry, Black Ark Studio produced albums that came about in the early 1970’s. Released in 1973 it displayed great tunes and the kind of deep, warm, overdubbed production Perry had perfected at Black Ark. Coupled with the righteous anger of Max’s voice it was a real winner. The tune opens with a startling vocal pronouncement before proceeding with a now famous (and much borrowed) rhythm laid down by Perry’s house band The Upsetters.

My son had been listening to the Prodigy, namely this tune, called Outta Space:

It’s not a reggae purist’s cup of tea for sure, but he was surprised to hear the classic opening refrain in a different context from what he knew, especially as it was the original, and from so long ago. I guess in that moment the concept of the remix was born for him. Having that introduction, he ended up copying large swathes of my Max Romeo collection and this led him on to more esoteric Jamaican fare such as Bob Marley (smiley face) and Lee Scratch Perry. He also began spreading it around his friends who started to become quite reggae friendly.

It’s not a one way street though, I might hear some Topcat or Tenor Saw, James Brown or Etta James sampled in his tunes and can point him to the originals. This is a long way of illustrating that music has become quite circular for us and I find myself happily playing High Contrast, Netsky, j Majik and Wickaman alongside Mad Professor or Scientist.

Back to Maxie though. We’re planning to mine a lot of remix action on our show and Chase the Devil is a perfect example. From a rare Lee Perry version, messed about, echoed out and overdubbed to high heaven, Disco Devil…

…to Mad Professor’s “Pabloesque” version…

One of my favourites is Dreadzone’s Iron Shirt from the album Once Upon a Time

…which featured in the movie Fire in Babylon

…in a scene where the West Indies are dishing out dangerous physical payback to an arrogant 1970s Australian cricket side. It’s a perfect piece to symbolise the birth of one of the greatest cricket sides of all time, reflecting the heat and intensity of that series, and of course Max Romeo was originally singing about throwing off one’s inner doubts and negativity (the Devil) by building up an armour of positivity (the iron shirt) and casting the badness out of your mind (to Outer Space). Max talks about it here.

It doesn’t end there though, how many rap fans would have known about Max when Jay Z added “Lucifer” to his classic “The Black Album”?

http://www.youtube.com/watch?v=t8h0d00gEh4

I’ve even tracked down white-boy rock versions of the song which I don’t care to share here.

Unlike many of his contemporaries, Max Romeo is still alive and kicking. He’s about to play as part of the Jamaica 50th Anniversary of Independence celebrations in London from 26 July to 6 August 2012 which fills me with great joy. I’d read a few years ago that Max was living in a caravan with his extended family on the outskirts of Kingston, suffering like many of his contemporaries from a lack of financial reward for his labours. Hopefully the pay packets are still coming though, looking at the above you’ve got to say that the man deserves it, and if you’re still not convinced, I’ll leave you with one more stone cold wonder. Max and Scratch and a tune called One Step Forward

Peter Darlington

 

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Dirty Chic Punk Fashions…http://www.extplay.com/2012/07/dirty-chic-punk-fashions/ http://www.extplay.com/2012/07/dirty-chic-punk-fashions/#comments Sat, 28 Jul 2012 14:07:05 +0000 Simon http://www.extplay.com/?p=514 Punk Magazine Issue 2, 1978

A collection of vintage corporate-produced US punk magazine covers from Flavorwire, including some fairly bizarre attempts to link those ‘weird’ punk rockers with sex fetishism as they royally missed the point – middle America never quite got it…

I really do want to read the story about David Bowie and the UFOs though….

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Stevie, 1973…http://www.extplay.com/2012/07/stevie-1973/ http://www.extplay.com/2012/07/stevie-1973/#comments Fri, 27 Jul 2012 08:04:23 +0000 Simon http://www.extplay.com/?p=492 Stunning live Stevie, German Beat Club 1973….

 

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Old Skool Prankstas…http://www.extplay.com/2012/07/old-skool-prankstas/ http://www.extplay.com/2012/07/old-skool-prankstas/#comments Fri, 27 Jul 2012 07:45:57 +0000 Simon http://www.extplay.com/?p=478 3 The Hard Way, 2003

Russell blogs the reissue today of the long missing in action 3 The Hard Way album, Old Skool Prankstas.

The story of 3 The Hard Way is one of those music industry specials. Back in 1994, their debut single, ‘Hip Hop Holiday’ came out of nowhere to become the first rap record to top the New Zealand charts.

See the link for more of the story and wider importance of this lost long player. Or Peter McLennan’s extended piece on this reissue.

As far as I can work out Old Skool Prankstas was the fourth NZ hip hop album (we took a while to get moving on this rap stuff but when we did…..) after the debut Upper Hutt Posse album, the McOJ & Rhythm Slave long player, both on Murray Cammick’s Southside label, and Urban Disturbance’s 37 Degrees Latitude on DeepGrooves (which may have come just after this record) but it was the one that caught fire, being certified platinum in 1995.

Contractual issues and other stuff meant it disappeared in the late 1990s. We tried to get the thing out again in 2003, but – as Russell says - bizarrely nobody seemed to have a copy of the album that had sold 15,000+ copies in 1994.

And the label – DeepGrooves – that had issued it was defunct and the owner, Kane Massey, had disappeared without trace (in Japan we were told – that narrows it…). It took a while but we retrieved the rights and, without a copy to master it from or the tapes – nothing.

It nagged at me for years. Getting NZ stuff back out there is a personal passion, although often not as easy it it might seem to the casual observer/critic.

A few months back I had an email from Peter – and, well, as he says:

The band had planned to reissue this back in 2003, when they released their 2nd album, but no one in the band had a copy! I found one in Real Groovy last month and passed it to their label, and whipped up some liner notes, and now….

I needed to find myself in the same city as Peter but that opportunity presented itself last week when a film company fortuitously flew me back on an unrelated project, and thus we were able to bring it all together. Peter suggested bonus tracks, which we added, and he put together the nifty digital booklet which you can access here (or as part of the download when it goes live on iTunes this next week).

And, as a timely bonus, Amplifier are about to launch lossless file releases. Old Skool Prankstas will be in the first batch of those. I’m thrilled about that.

The story, of course, didn’t end then. In 2002 Alan Jansson and I signed the last two members of the band, Chris (aka Boy C) and Mike (aka DJ Mike Mixx) to our Joy label and recorded the album Eyes On The Prize, with Alan producing. The first single from that album was It’s On, which hit number one in New Zealand October 2003, some 9 years and 10 months after Hip Hop Holiday, and went gold later that month.

Personal issues meant that there was no more, although Boy C appears on the very last – to date unreleased – OMC single from 2007.

For more on DeepGrooves head here, or put your name down for the impending book on the label, also from Peter.

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Smile Awayhttp://www.extplay.com/2012/07/smile-away/ http://www.extplay.com/2012/07/smile-away/#comments Tue, 17 Jul 2012 04:22:43 +0000 Simon http://www.extplay.com/?p=431 Ram On

In a record store in Ponsonby a couple of days back I was buying yet another long player. For no particular reason beyond the fact that I didn’t have it – oh, and it was a numbered limited edition in a white cardboard sleeve devoid of any information and thus desirable – I was buying a mono pressing of Paul & Linda McCartney’s 1971 much acclaimed, although it took a few years, pop masterpiece, Ram.

I have this record – the stereo version that is, as the mono was mostly unreleased until 2012 outside a few South American countries – many times over. I have three New Zealand vinyl pressings (different labels so compulsory purchases), two US versions, two UK vinyl copies, three times on CD, and a Russian copy for good measure. I may also have an Australian copy but who knows for sure…

That’s sad, huh?

But here I am, 41 years after I, as a mid-teenager, acquired the very first EMI NZ copy brand new on the day of release, buying yet another copy, one that is unlikely to get played more than once or twice, and one that I even hesitated unwrapping from the plastic seal. I was, crushed by the burden of addiction, absolutely unable to resist buying this.

Mostly I don’t have an addictive personality – or so I tell myself. I used to smoke fags but found giving it up easy. Ok: twice. I like a drink but hate the day after which mostly means I self-correct the desire to have another around 1am (when I owned clubs I’d drink water most nights), and have always recoiled from being a slave to any sort of glass pipe or a rolled up tube of paper currency. Marijuana simply bores me – and makes me think everyone is a cop.

I do like chillies a lot. Does that count?

Doing her job, the woman serving in the Ponsonby store suggested I also think about purchasing the vinyl pressing of the new album by Auckland songsmith Lawrence Arabia, because, I guess, there is some sort of stylistic line joining Mr. Milne and the much derided most-successful songwriter of all time. It’s odd, but the same people I know who love the Lawrence Arabia albums (count me in that number) are often vocal in their virulant critical assault on Macca (count me out of that). However – and it’s a mildly important however to an addicted trainspotter like myself – when I listen to an album like the new record, The Sparrow, or the earlier Chant Darling, I hear early wistful McCartney (and almost a dusting of Badfinger on Chant Darling – they were after all hopelessly, as it eventually worked out, but gloriously defined as affectionate McCartney ape-ists).

Hell, he even looks like Sir Paul some thirty five years back. It’s not a bad thing.

I said I would perhaps get the vinyl later but I was attempting to temper my four decade long vinyl acquisition frenzy – my wife tells me I have too many records I explained. Tell her she has too many shoes she said. Quite: well I would if she did but B is throughly reasonable in all such things. I’m the one with substance issues and mine are all round and flat with a small hole in the centre.

She looked at the record I was holding, looked at my almost full customer bonus card and said she’d hold me a copy.

It’s a thing, this having to have. Long ago I became addicted to certain artists and it’s silly hard to let go. The Beatles were where it began, back when I was almost sub-teen. The first album I bought was With The Beatles, then Sgt Pepper and so on. I bought 45s. I bought EPs, and when they broke up I began to buy solo records.

The fab 4 released 13 albums – I own some 500 Beatles records and I know that’s really really pathetic but so be it. But have you seen the Filipino pressing of Revolver with the misprinted lime green cover?

I also have boxes of 7″ singles, picture discs, reissues with injection labels, reissues without injection labels, Record Store Day sets and even copies of all the US Beatles albums pressed on bubble gum.

Happily I stopped buying solo Fabs records selectively as the 7os passed (although eagerly grabbed any promos I saw around record companies) with the exception of Lennon. McCartney kept me until he descended into that dark ugly place after Band On The Run where he meandered around piling sugar on top of cringe inducing drivel, staying there until the end of the 1980s (although I still have every album on vinyl courtesy of EMI – I’ve just never listened more than once to most of them).

Somehow he found a way out of the morass around 1990 and his output thereafter has been pretty decent even if his live performances remain dire.

But it’s not just McCartney. I became obsessive about a bunch of others: try James Brown, Marvin Gaye, Kraftwerk, Miles Davis, David Bowie, Elvis Costello, Masters At Work, Larry Heard, Brian Wilson, Paul Weller, (recently) Caribou, Kevin Saunderson, Carl Craig, Joe Strummer, Gregory Isaacs, Lee Perry and a few record labels (Chicago’s Guidance was one, R&S was another).

I’m a completeist on many (not all) of the above.

Which is fine until you hit the inevitable diminishing returns.

I have a friend who is a Lou Reed completeist. I admire him some days, on others I suffer for him.

He was entrapped by the Velvets in his teens, and that was confirmed by the sequence of pretty decent – some might say fabulous – long players from the early to late 70s. However Lou has a way of battering and testing even the most devout. You can tolerate Metal Machine Music if you know Street Hassle is on its way but the level of awfulness in the Reed canon would overwhelm all but the most hardy. And then – when you think it can get no worse – he gives you Lulu.

Fucking Lulu.

My repeatedly violated friend is publicly defensive but I suspect he’s cursing Lou in the privacy of their own room.

I’ve worked out my friend – I’d understand more if he’d had a past history of Class A issues but there are none – who has been, in the real-world, solo since about 1978, is simply in a disfunctional long term relationship that will likely last until one of them expires. And nobody has told Laurie Anderson.

When Lennon was shot Bowie famously hired a full time hitman to go everywhere with him and I understood. As much as I like my friend (and know he won’t harm Lou – although Lulu pushes the boundary some) you do get the tangental scary drift that addiction can add.

He’s not learned to temper his addiction (my friend that is, not Lou – his addiction to his own inflated self worth seems terminal). I temper Brian Wilson. I’m not addicted to The Beach Boys unless Wilson is involved. So no Kokomo or Mike Fucking Love for me, although that heinous Disney covers thing from Brian last year was a pretty harrowing chink in that artifice of armour.

Costello – well yes I don’t know why either. I don’t like him as a person at all, his live persona is all overwrought, he’s entered the duet-with-any-fucker Elton John stakes and those hats are simply ridiculous.

And his records are increasingly forgettable (rather than shite like Lou) – but I buy ‘em anyway and try…

It can be handy when they die. Sometimes artistically they’d long died (Gregory Isaacs) before the flesh gave up but at least the ashes to ashes bit removes the responsibility to care about new releases that inevitably make one cringe. I have tempered out posthumous releases of unreleased material.

Which somehow brings me to David Bowie.

The 1970s were not about punk, the 1970s were not about disco (okay they were, but the good shit – y’know Philly and Salsoul), the 1970s were not about ugly prog. The whole decade really was about David Jones and where he placed things for the rest of us to discover, to draw from and to ape. The 1970s began with Space Oddity and ended with Scary Monsters whereupon Major Tom’s a Junkie. The Sex Pistols were always about David Bowie.

This movie is only marginally relevant to that overstatement but if you’ve never seen it:

And then he went to pieces. His work in the first part of the 1970s defined every element of that whole decade’s rock & roll landscape worth remembering – and then his work in the second part of the 1970s handily defined the 1980s – even though he was mostly MIA for the last part of that.

I don’t care whether David Bowie had a decade long affair with Mick Jagger. What I DO care about is the two of them prancing on MTV to Dancing In The Streets. That few minutes was worse than a dozen Tin Machine albums, worse than the awful Tonight album, worse than the desperate drum’n'bass posturing of Earthling and worse than The Laughing Gnome.

A whole generation, a whole decade, looked on in utter horror. I touched my Baal EP and listened one more time for the hidden message in Rock’n'Roll Suicide, the one that Nick Kent swore was there. But the real message was not that he was fucking Mick Jagger, but that he’d fucked us. How dare he do that?

And I bought it. Of course.

ziggy

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Matthew Dear’s vid for Her Fantasyhttp://www.extplay.com/2012/07/matthew-dears-vid-for-her-fantasy/ http://www.extplay.com/2012/07/matthew-dears-vid-for-her-fantasy/#comments Tue, 03 Jul 2012 11:12:25 +0000 Simon http://www.extplay.com/?p=416

Whilst the video looks like something Malcolm McLaren would’ve made for New Order in the mid 1980s I love the new Matthew Dear tune…

The album, Beans, is out at the end of August and, like his last two, I guess I’ll be up for it.

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