um I don’t know what that song (laughter) was. We played the wrong side of a tape but and maybe it was the Pajama Slave Dancers I don’t know. That’s who it was supposed to be I don’t think it was. Before that we heard Faith from DC off their 12 inch and that song was Aware and now we’re gonna hear something else from New York and this is a band called Murphy’s Law. Lyle here wrote grrrrrr and uh the song is called California Pipeline.
Out now!!! Published by Other Forms: available here.
20. Chrome: The Visitation
19. Savoy Motel: S/t
18. Mary Halvorson: Meltframe, Away With You
17. Leonard Cohen: You Want It Darker / David Bowie: Blackstar
16. Brad Meldhau Trio: Blues and Ballads
15. Don Ch…
I KNOW you’re kidding about #17. Is this you? Anyway, awesome.
Nah, they’re both pretty incredible records! Despite my general antipathy for both those guys, I gotta admit that listening to these two records provided exceptional listening moments for me this year. It’s not just that they’re well-made records, but that they are perfectly conceived "now you see me – now I’m dead" albums, both of which uphold the singers’ iconic visions powerfully. Plus, for two guys from the heart of the AOR era, after a lifetime of making records designed to be heavy trips taken as a whole, this is perfection. Roger Waters, you are on notice! Respect, but an observation of the essence of this context by putting them together like that.
“B side included on A side, full length disco mix of Pop Musik on Seaside”
Pop Muzik — Other Formats
The UK 12-inch single version was notable for the A-side having a double groove such that the two tracks (“Pop Muzik” and “M Factor”) both started at the outer edge of the record and finished in the middle (with a long silence at the end of “M Factor” since the track was the shorter of the two). This resulted in a random selection of the two tracks, depending on which groove the needle landed in the lead-in. To further market this idea, the UK record sleeve stated “B side included on A side, full length disco mix of Pop Musik on Seaside”. ‘Seaside’ (in other words “C side”) was a simple play on words as the letter C, apart from being the logical next “side” after the A and B sides, is pronounced the same way as the English word “sea”, and “seaside” means “beside the sea”.
Why waste a page overanalyzing the latest Joy Division release when you can cover 20 new indies in the same space?
from Maximum Rocknroll #001, July/August, 1982
1) Fly Like An Eagle, SMBand
2) Revolution, Beatles
3) Join Together/Relay/Let’s See Action, Who
at the turn of the century
I’m gonna buy myself a time machine go to the turn of the century
Perfect repetition (turn of the century)
Bee Gees tech-no: from Paper Maché Cabbages & Kings, “Paper maché and telegraph poles/things go dead in the night” AND “Jimmy had a bomb and the bomb went bang.” And, from 855-6019: “there will never be a past or future/if you kill my phone.” And, from Barker of the UFO: “Collecting aeroplane numbers now, Mr. Barker.”
It does seem like every one of these manages to contain a machine and a temporal reference. And the cover of High Civilization (1991) has a bunch of gadgets on it. And the rest of the Edison verse , lest we forget, goes “He made electric lights to read/He gave us light today/He gave us cylinders to please/When Edison…”