Prophetic Band: Ainsi Parla Zarathoustra [1973]

I'm very much in favor of what the bass player and drummer are doing here. This is the second cover version of Deodato's Zarathustra we've played so far (see here for the bossanova version). Don't be surprised if that number climbs in the weeks to come. In fact, if you're sitting on a great version of this, Phish or otherwise, feel free to tell us about it, or better yet send an mp3.

"Sometimes I think we are alone, and sometimes I think we're not. In either case, the idea is quite staggering." --Stanley Kubrick, 1968

Ennio Morricone:
Le Casse (Générique)
Rodéo
Thème d'Amour
[1971]

from the soundtrack to the film Le Casse
starring Jean-Paul Belmondo, Dyan Cannon, and Omar Sharif
directed by Henri Verneuil

I got this record about a year ago at the Clignancourt flea market. Seeing Ennio do his spiel at the Oscars made me dig it out again and re-listen. For me there's something psychedelic about this kind of muzak-y sound, and it often takes me back to this place, which is nice.

own it!

Fessor Funk: Take Me To The River [1975]

A fun, up-tempo, clav-happy version of this, with a string line that calls to mind this immortal classic.

Fessor Funk on eBay

Bob Crewe & Charles Fox: Fight in flight [1968]
Bob Crewe & Charles Fox: The black queen's beads [1968]

When I hear Fight in flight, it is difficult for me to think of anything but the time Sheridan Dupre and I squandered his inheritance on first-class tickets to Hawaii, and were very unfairly kicked off the plane in Los Angeles following a controversial decision by the "flight crew." After a few interesting days in holding in LA, Sheridan and I decided to rent a convertible and drive to Mexico where we spent the money that remained after bail had been posted. November 2006 seems such a distant memory now.

Buy Barbarella.

Silkworm: Ooh La La [2000]
Silkworm: Is She a Sign [2002]

Two from the late, great Silkworm. First, a cover of the Faces “Ooh La La” from 2000’s Lifestyle. The original is a classic, but I love how wearied, plaintive, and even hopeless this version is. It becomes a different song. I’ve also posted “Is She a Sign” from 2002’s Italian Platinum. Even restrained Silkworm has what feels like a coiled, growling undercurrent.

Both records from the Touch and Go label and available
here .

Oh, I yoinked the photo off of Silkworm's website. It was taken while they were on tour in Japan.

Art Tatum: Elegie [1940]

from a theme by Jules Massenet

Speaking of great Arthurs... If you've never heard this before, you're in for a treat. Something extremely awesome happens at the 2:10 mark, to wit: five centuries of American history roll backwards in time at light speed.

taken from this CD

recorded on February 22, 1940, in sunny Los Angeles, California

Fantastic Plastic Machine: Electric Ladyland (Japanese Version) [1998]

Taken from Luxury, one of Tomoyuki Tanaka's more solid efforts. A few summers ago I was addicted to this song. I no longer remember why. It must have been something in the air that summer.

The rest of the album incudes a cover of the Eurythmics' There must be an angel.

The album is well worth the purchase.

Satwa: Allegro Piradissimo [1973]


For eleven January evenings in 1973, the Morroccan sitar of Lula Cortes and the 12-string of Lailson de Holanda Cavalcanti haunted the northeastern shores of Brazil. When the fire died down and the body finally cut loose the duo went their separate ways. Here is the third track from the first published independent album in Brazil.

Traffic: Feelin’ Good [1969]

From the album Last Exit, this song which was recorded live at the Fillmore West features a Dave Mason-less Traffic. I’ve recently learned that "Feeling Good" originally appeared in Anthony Newley and Leslie Bricusse’s 1965 musical The Roar of the Greasepaint—the Smell of the Crowd. It has been famously done by Nina Simone, but also by Sammy Davis Jr, a host of male crooners, various American Idol contestants, and The Pussycat Dolls. I’ve searched fruitlessly for an mp3 of the original cast recording for a comparison, but I must say I love the idea of songs going from Broadway to the Fillmore, from musical theater arrangement to extended rock treatment. Was it Nina Simone's version that inspired the band to cover it? Or was Stevie Winwood just a huge Newley/Bricusse fan? I'd prefer the latter, I think.

Notekillers: Clock wise [1978]
Notekillers: Spaceland chant [1980]

Since I first heard of the Notekillers on Alex Ross' blog, it's not difficult to imagine their widespread appeal among music lovers. According to guitarist and co-composer David First, the Notekillers had two objectives, the second of which was "that the music be equidistant from (and therefore equally close to) every vital type of music in the history of the world. The Notekillers music was created with one thing in mind - that it should be able to follow any record on my turntable - Marley, Ayler, Pistols, Fahey, or Reich, raga, pansori, tea house, snake dance or son - and the threads would be clear."

Here's some sick footage from a 2006 gig at Tonic:



This is one band you definitely want to support by purchasing some music here.

And after you support the Notekillers by going to the above URL and purchasing their music, you will find new music from them here. The new stuff is going directly into my mp3 player. Thanks for the link df!

Koenig Cylinders: Carousel [1993] -->
Dinosaur: Kiss Me Again [1978]
(Optimo mix)

taken from Optimo Present Psyche Out

Kiss Me Again was written by Arthur Russell. Featuring NYC session legend Allan Schwartzberg on drums, who flat-out rocks the break at the 7:10 mark, then pretty much says "fuck it" at the 10:21 mark and goes into country two-step mode for the rest of the song.

There are about 15 different, equally great parts in this. One of my favourite episodes begins at 5:38. Those two bass notes that answer the cello are not what I expect them to be.

See here for the rest of the personnel and more interesting info on this fucking legendary track.

The Professionals: 1-2-3 [1980]
The Professionals: White light white heat [1980]
The Professionals: Baby I don't care [1980]

1-2-3 was the second single by The Professionals, accompanied by its two b-sides.

The Professionals were:
Steve Jones − lead guitar and vocals
Ray McVeigh − rhythm guitar
Andy Allen − bass (until he was sacked)
Paul Cook − drums

Not to be confused with these Professionals. More on that band shortly. I dropped a pretty penny on one of their albums on vinyl. You will soon be able to judge whether it was worth it.

Buy music from The Professionals here. And watch a very un-punk video for 1-2-3 on YouTube, here.

Family Fodder:
Savoir Faire
Der Leiermann (organ grinder)

from the album Monkey Banana Kitchen

These guys Family Fodder have got it going on. I first heard tell of them via this eBay auction for their 1979 Sunday Girls LP, a conceptual tribute to Blondie. I didn't win, but as it happens the intriguing Annie's Animal has made a welter of OOP Family Fodder available for download, at least temporarily. Massive thanks to Annie's Animal for providing these crucial vinyl rips.

BTW, I'll be celebrating the vernal equinox all day today at the base of the ziggurat pictured above, doing the usual sacrifices and ablutions. Stop by and say hi if you're in the area...

Family Fodder on CD

The Five Stairsteps: We must be in love [1969]
The Five Stairsteps: O-o-h child [1970]

I was only going to post one song by The Five Stairsteps, but I couldn't resist posting O-o-h child, a song that's perhaps too common for a music blog, but also a song that without fail makes me feel better when I'm down. Anyway, right now I am far from down. It's actually been a pretty good week so far.

We must be in love is written and produced by Curtis Mayfield.

Buy music from The Five Stairsteps.

Gabor Szabo: Theme For Gabor [1976]

from Nightflight

written by Ritchie Rome
arranged by Ritchie Rome & Bunny Sigler
recorded at Sigma Sound Studios, Philadelphia

I want to dedicate this song to my main man SPC, for coming through in the clutch.

Gabor on CD

Ujima: Keep On Rolling [1976]

Homegrown heat from Richmond, VA, courtesy of District Wax.

This was running through my head the whole time I was in the Musée d'Orsay. Did you realize that there are two Déjeuner sur l'Herbe's, one by Manet and one by Monet?

The art moderne furniture was good, too.

Neil Diamond: Prologue [1973]
Neil Diamond: Be [1973]

Here are the opening and closing tracks to the soundtrack for Jonathan Livingston Seagull, which was composed by Neil Diamond and won the award for "Album of Best Original Score Written for a Motion Picture or a Television Special" at the 1974 Grammy Awards. According to Wikipedia the soundtrack grossed more than the film itself.

I am reminded of two things when I when I hear Jonathan Livingston Seagull: my mom taking me when I was a kid to an art-house cinema in Paris, and Beavis and Butt-head.

Buy the soundtrack to Jonathan Livingston Seagull here. It's actually quite wonderful.

The Professionals: A part of being with you [1980]

I am not sure about the year. Numero Group, easily one of my favorite music publishers, had this track on one of their compilations. Emmett and I listened to it one night and had a good laugh over the bass sound that's scattered throughout the second half of the song. The guitar solo brings me back to a time when all I wanted to do was sit in front of my stereo and just listen. I wish the song was ten minutes longer.

Does anyone know about The Professionals? I've tried without success to find anything about them on the Internet. I am desperate to hear an album. Any help at all, or even further information, would be appreciated.

But this album and others directly from the Numero Group. They really are the bomb.

Rolling Stones: Dance (pt. 1) [1979]

from Emotional Rescue

Great late 70s dance tune from the Stones, w/default great bass lines/riffs from "39 and holding", Bill Wyman. What Keith is doing when whistling on the corner of W. Eighth and Sixth, is up for interpretation. I've narrowed it down to one of two things, but I'm not saying.

>>posted by SPC

Múm: Once a Shiny Morning Puddle [2004]

This is the b-side from Nightly Cares, which appeared on Summer Make Good. Mum is my favorite band, about three days out of the week. I think they're brilliant.

Buy the single here.

Grizzly Bear: On a neck, On a spit [2006]


The first 15 seconds casualy waltz in without much fanfare, like a kid that hides behind his bangs when entering a room; but once the slide guitar creeps in and the song stretches out, well, "you can't go home again, each time it's different." I tried to write what to visually expect at the 1:15 mark and 2:04, but decided to forgo the thunderclouds and rain. I'm gonna pack my bags and live the rest of the month within this song.

John and Vangelis: Curious Electric [1980]

More Jon Anderson. We like repeating ourselves. Here's a collaboration with Vangelis, the Greek synth God who turns 64 this month.

Lyrics:
Sitting here in the television
Looking at the tube
Sitting next to me
He's not been very well lately
He told me so
He's been crying
A little bit
And I ain't lyin'
But we're sitting it out
Watching "Match of the Day".
You know we've all gotta go anyway
I said we've all gotta go anyway
And I wouldn't mind being last in line
To see such joy and fruitfulness.
When everyone discovers short stories

Buy Jon and Vangelis here.

The Jam: That's Entertainment [1980]

"A police car and a screaming siren
A pneumatic drill and ripped up concrete
A baby wailing and stray dog howling
The screech of brakes and lamp light blinking.
That's entertainment."

>>posted by SPC

But The Jam here.

Big Star: Thirteen [1972]

from #1 Record

This gets right to the punch. Nostalgia for innocent first love in one's teen years is the theme, and it never strays. Boy, does it ever hit the mark. It also cuts deep if you're in the beginning of a relationship and you don't know if the other person feels as strongly as you do, yet you're fearful to show your hand. Alex Chilton on vocals, after his days as a teen phenom singer with The Boxtops.

>>posted by SPC

Doug and the Slugs: Too Bad [1980]

On the eve of the NCAA tournament, Art Decade is collaborating with SI.com's Luke Winn and the Tourney Blog to bring you a track with special basketball significance. Pitt forward Levon Kendall, whose Panthers play Wright State on Thursday night, has myriad musical connections -- he was named after The Band's Levon Helm, and his father, Simon, played keys in the venerable Canadian indie group Doug and the Slugs. We're bringing you Doug and the Slugs' greatest hit, Too Bad, which also served as the theme song for The Norm Show, starring Norm MacDonald. Luke has an interview up with Levon in his blog from Wednesday in Buffalo, available here.

Buy Doug and the Slugs here.

Fela Kuti & the Africa 70: Observation Is No Crime [1978]

Emmett's away on vacation, and I am drowning in work and applications, but SPC is stepping in, admirably, and I thought I'd take a break by posting a song with a title I've often had to cite in Central Park in the summertime.

Record in Berlin in 1978, via Lagos and Los Angeles.

It might be a crime to not own Zombie.

The Cure: Fascination Street [1989]

The instrumental opening is built upon sonic layers of jamming and sound effects, the volume getting louder and louder in the mix, until the vocal comes in at the halfway point. Personally, one of the coolest intros to any song. The mixing on this is as good as anything you'll ever here. Guitar by Porl Thompson.

available on CD

>>posted by SPC

Ian Dury & The Blockheads: Hit Me With Your Rhythm Stick [1979]

From the makers of the anthem "Sex & Drugs & Rock and Roll" came this dance/punk classic with infectious opening riff by Ian Dury and the Blockheads, in 1979. It got a fair amount of airplay on stations like WNEW, and was number 1 in the UK popular music charts in January 1979. The opening reminds me of opening the door to a party that is already going full blast.

Ian Dury on CD

>>posted by SPC

Graham Central Station: Can You Handle It? [1974]

from the album Graham Central Station

This song gets me up every time. Larry Graham, known for his bass prowess, also uses his voice as a wide-ranging instrument, stretching every note inside out and back again. I overheard someone streaming it at work recently, and before I knew it, I'd gotten a copy and listened seven or eight times. You'll of course recognize Larry's distinct baritone and deep sea bass from his days with Sly and The Family Stone.

>>posted by SPC

Dear friends: I'm going to Paris for a few days to chill out and get my space together. I'll be back next week, hopefully with some fine French wax in tow (speaking of which, if anyone can recommend good record stores in Paris, please add a comment to this post). In the meantime, I'm excited to announce that my main man DJ SPC will be filling in for me while I'm gone. And now without further ado...

Electric Light Orchestra: 21st Century Man [1981]

Happy Birthday Emmett!

Sarr Band: Double Action [1978]

Last week I was watching an eBay auction on a 45 of this song as performed by The Fantastic Soul Invention. The going got rough and I didn't end up bidding, but in hindsight I felt I had made a disastrous mistake. I went so far as to try to email the winning bidder for an mp3, to no avail. Then, out of nowhere, Jaws posts this ruling version of the same song as performed by the Sarr Band! I won't be able to sleep well at night until I track down that FSI version, but having this one helps a lot.

Jack McDuff: Kisses [Sugarhill, 1981]

Side A:
Kisses
Say Sumpin' Nice
Primavera
Night Fantasies

bonus cut from Side B:
Tunisian Affair

Purchase date: March 8, 2007, 1:50 PM
From: itinerant street vendor
Location: Broadway north of 72nd
Price: $3
Record label: Sugarhill
Rank of this album among my all-time favorite albums: 1

The Jack McDuff Heatin' System:
Gerryck King - Drums, Percussion, Vibes
Jonathon Wood - Bass
Danny Wilensky - Tenor Sax
Danny Petrow - Guitar
Jack McDuff - Organ, Piano, String Ensemble, Mood (sic), Percussion and Vocals

guest stars: Joe Farrell (soprano sax), Stanley Banks of the George Benson group, Phil Upchurch (guitar), Karl Lidral (soprano & tenor saxophones)

All music written, arranged, & produced by Jack McDuff, except Say Sumpin' Nice written by George Benson & Jack McDuff

recorded at Sugar Hill Studios

Big Star: Try Again [1972]

"Lord, I've been trying to be understood..."


Ardent Studios turns 40. Where Jody Stephens, center back in the photo, is now running the show. Buy the album just down the block at another Memphis institute, Shangri-La Records. This store has all the goods. Hell, they even boast their own in house 70s musuem.

Gavin Bryars: Tramp with Orchestra IV (full strings) [1993]

This follow-up to 1975's Jesus' Blood Never Failed Me Yet, includes Tom Waits on the last two tracks. I was going through a Tom Waits phase around the time I started college and bought this album not knowing who Gavin Bryars was. I listened to it a bit then, and have gone back to it every couple of years since. The entire suite is 75 minutes.

From Gavin Bryars' website: "In 1971, when I lived in London, I was working with a friend, Alan Power, on a film about people living rough in the area around Elephant and Castle and Waterloo Station. In the course of being filmed, some people broke into drunken song - sometimes bits of opera, sometimes sentimental ballads - and one, who in fact did not drink, sang a religious song
"Jesus' Blood Never Failed Me Yet". This was not ultimately used in the film and I was given all the unused sections of tape, including this one. When I played it at home, I found that his singing was in tune with my piano, and I improvised a simple accompaniment. I noticed, too, that the first section of the song - 13 bars in length - formed an effective loop which repeated in a slightly unpredictable way. I took the tape loop to Leicester, where I was working in the Fine Art Department, and copied the loop onto a continuous reel of tape, thinking about perhaps adding an orchestrated accompaniment to this. The door of the recording room opened on to one of the large painting studios and I left the tape copying, with the door open, while I went to have a cup of coffee. When I came back found the normally lively room unnaturally subdued. People were
moving about much more slowly than usual and a few were sitting alone, quietly weeping. I was
puzzled until I realised that the tape was still playing and that they had been overcome by the old man's singing. This convinced me of the emotional power of the music and of the possibilities offered by adding a simple, though gradually evolving, orchestral accompaniment that respected the tramp's nobility and simple faith. Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism.
The piece was originally recorded on Brian Eno's Obscure label in 1975 and a substantially revised and extended version for Point Records in 1993. The version which is played by my ensemble was specially created in 1993 to coincided with this last recording."

If you want to hear Tom Waits, you'll probably have to buy the album here.

Julien Covey & The Machine: Sweet Bacon [1967]

Explosive!
An energy packed hammond groove
that will surely light your shoes on fire.

The Tubes: Prime Time [1979]
The Tubes: Getoverture [1979]

Buy Remote Control here.

Harry Thumann: Underwater (12" version) [1979]

available on this compilation and many others

Dudley Moore: Moon Time [1968]
Dudley Moore: Bedazzled [1968]

Based on the lyrics to the song Bedazzled, I would have to say this movie was at least 3 years ahead of its time.

I am going to stay ahead of my time by not posting a link to this movie's soundtrack.

The Rolling Stones:
Too Much Blood (dance version) [1984]
Too Much Blood (dub version) [1984]
Too Much Blood (bonus dubs) [1984]
Too Much Blood (album version) [1983]

Great horn part. I recognize that nobody needs 28 minutes of this song, but for historical accuracy, here are the entire contents of the 12" single.

Sparks: Reinforcements [1974]
Sparks: At Home At Work At Play [1974]

One song for my lovely cousin who begins a new job tomorrow. Reinforcements are a thing of the past. All her battles are over. It's all empty train tracks from here.

And another song for her fiance... in case he finds he is competing with her new job for her time.

Buy Sparks here.

Freddie Scott: Are You Lonely For Me [1966]

written by Bert Berns

This was a #1 R&B hit for 4 weeks in early '67 and climbed as high as #39 on the pop charts. Covered by many, including Otis & Carla, Al Green, and Jerry Garcia. Ideally you would hear this on the radio while driving down the highway late at night...

Freddie Scott on CD

Harvey Mandel: Wade In The Water [1968]

from Cristo Redentor

I just found out about this classic jam. Loving the stereo-panned twin guitar attack that kicks in at the 2 minute mark. The strings keep reminding me of Jesus, etc. by Wilco, for whatever that's worth. If you listen to the beginning then jump all the way to the end, you'll notice the tempo has subtly accelerated: another blissful snapshot of A Time Before Pro Tools.

Leon Russell: Manhattan Island Serenade [1972]

from Carney

Thoughts of Freddie and the Shelter band had me digging out my Leon Russell LPs the other night and, in a pensive mood, listening to this song about 4 times. Every time I hear that minor chord piano intro I half expect to hear "Guess you never knew, dear boy..."

Demis Roussos: Let It Happen [1977]
Vangelis O. Papathanassiou: Let It Happen [1973]

I'm a bit loath to do second-hand blogging, but when something rules to this extent it would be unconscionable not to play it. So many thanks to Space for turning me on to Demis's version of this song and to JAZ for coming through with the clean copy.

In the Demis version, what is that sound that comes in at the 1:40 mark? Best sound ever.

Vangelis and Demis both available on CD.

Mellow: Chain Reaction [2002]

What song is this brief track, off the 2003 soundtrack for CQ, a rip-off of?

Buy the CQ soundtrack, and see the movie as well.

Dock Boggs: Country Blues [1927]

The psychic intensity of this recording is insane. From the first second, you're hypnotized. It's eerie. Other highlights include the lyrics, Dock kicking ass on the banjo, and the title. Who says "ooh!" after the line "Sweet heaven when I die"?

Some background on the song, from the liner notes:
"Homer Crawford, the itinerant photographer and musician from Tennessee, taught the song to Dock as Hustling Gamblers, probably around 1914. Dock added verses of his own... Hustling Gamblers and Darling Cory belong to the same lyric and tune family, one that has been around in the Southern mountains for over a century. The family of tunes probably originates late in the 19th century and belongs to the then developing tradition of white blues ballads. Dock's tune differs from the common versions..."

There are some fascinating (and scary) stories about Dock's life on The Celestial Monochord, from which I also nicked this photo of Dock, age 9 (in 1907).

This song is available on the Dock Boggs collection Country Blues as well as the legendary Anthology Of American Folk Music.

recorded in New York City

Radiohead: Paperbag Writer [2004]
Radiohead: Where Bluebirds Fly [2004]

I was out vinyl shopping with Emmett when we found the Radiohead single There There, which is a nice purchase as an A-Side, but the two B-Sides on this record are even sweeter.

Paperbag Writer contains a mean funk rhythm that kicks in above the strings about 60 seconds into the track.

The abbreviated version of Where Bluebirds Fly served as an entrance song during Radiohead's 2003 tour.

Painting by the fearsome Jazione. (Private collection.)

Buy There There, and read insightful commentary on the A-Side such as "What follows the second chorus is, in my opinion a vocal very typical of the last two albums, which is by no means a bad thing, it actually acts as quite a distressing thing. The guitar then comes in, just to prove that even in a slowish song, Radiohead can still rock, although happily in their own special way" here. And be happy that we don't consider ourselves music critics at ArtDecade.

Quincy Jones: It's Caper Time [1969]
Quincy Jones: Something's Cookin' [1969]

I am digging the bass work in the short Something's Cookin'. Here are two gems from Quincy Jones' work for the Italian Job, a movie which was the inspiration for one of the worst movie remakes of all time.

I'd be psyched if someone could explain new blogger to me. It takes me 8 attempts on every post to get the spacing right. Freakin' blogger.

Buy the soundtrack here.

Bobby Womack: I Can Understand It and Ruby Dean [1972]

from the album Understanding

I tracked down this album because I wanted to hear the OG of I Can Understand It, which was covered by New Birth and featured in these pages way back in November '06. (Here's the New Birth version again for those who missed it the first time.) Well, this album is a monster! The sound is so thick and muddy (in a good way), it makes Al Green sound like Spandau Ballet. (Just kidding -- but the sound is thick...)

The players:
Bobby Womack, Pam Grier, Patrice Holloway, Janice Singleton (vocals)
Tippy Armstrong, Redgie Young, Jimmy Johnson (guitar)
Harvey Thompson (tenor saxophone)
Ronnie Eads (baritone saxophone)
Harrison Calloway, Jr. (trumpet)
Dale Quillen (trombone)
Barry Beckett (acoustic & electric pianos, harpsichord, clavichord, Moog synthesizer)
Bobby Wood (acoustic & electric pianos)
Bobby Emmons (organ)
David Hood, Mike Leech (bass)
Roger Hawkins, Hayward Bishop (drums, percussion)

Producers: Bobby Womack, Joe Hicks