party political broadcast

thích quảng dức: meet the monkees

☛ ‘i wanna hold your hand’ ☚

notekillers: something wicked this way comes

Philadelphia experimentalists, Notekillers first aired here on SibLINGSHOT ON THE BLEACHERS on August 7, 2008. Approximately one year after Art Decade brought them to my attention in a post on which founding guitarist, David First dropped in out the ether to oblige in an impromtu Q & A. Loosely associated with the No Wave scene,

double helix

The first strand is, of course, side A of the debut single predating “No New York“. Produced by Robert Quine. Bob’s your uncle. The second strand is only available on the retrospective, “DNA on DNA“; one of four tracks recovered from the mysterious “Fiorrucci Tape”, date unrecorded. ▼ DNA: YOU & YOU from “You &

ikue mori: desert colonies

Where to begin ? Ikue Mori arrived in New York from her native Tokyo at some point in 1977, quickly gravitating toward the CBGB’s scene in downtown Manhattan. It was there, presumably, that she first encountered guitarist, Robert Quine. In early 1978, Mori replaced Dublin born Gordon Stevenson in Arto Lindsay and Robin Crutchfield’s DNA.

bang the drum

the circus comes to toy town. From the subsidiary imprint of Don Robey’s Peacock Records, operating out of Houston, Texas from 1949 until 1974. Every time Brown tries to get down with the people – in making a quip about competing for votes with the X-Factor – it makes me wince.  The whole discomfitting charade

that was the week that was

Perhaps the best strategy might be to strap each of the ‘three’ candidates into a steel chair. Interrogate them as to policy. See then just how much a politician dares to deviate from the script. And who might squeal if leaned on a little. The public has already witnessed a rudimentary ‘block-in’, sans canned laughter

further chronicles of the wind-up birds

Well, when all’s said and regurgitated, and I no longer give a shit regards the lamentable state of the British music ‘scene’, something unexpectedly good drops through my virtual letterbox.The Wind-Up Birds would appear to hail from Leeds. That alone is sufficient cause to trigger a fight or flight response; The Wind-Up Birds chose to

archived radiation

▼ PERE UBU: CHINESE RADIATION from “The Modern Dance” LP (Blank) 1978 (US) ▼ PERE UBU: SENTIMENTAL JOURNEY from “The Modern Dance” LP (Blank) 1978 (US) UBU PROJEX: BUYER’S GUIDE TO PERE UBU

i can’t hardly stand it, no-no #2

“one hundred years ago Detroit Electric… could go 211 miles on a charge.” Not as perfectly distilled as the studio take which appeared belatedly on “VU“, this version is allegedly recorded in Detroit, 1969; not San Francisco, as some copies have misreported in bootlegging from the bootleggers. It very possibly pisses all over the same

i can’t hardly stand it, no-no

Recorded May 20th, 1969, NYC. ▼ THE VELVET UNDERGROUND: I CAN’T STAND IT from “VU” LP (Verve) 1985 (US)

roky erickson: true love casts out all evil

“I have Always Been Here Before“.George Cruikshank illustrates Dickens, Bradbury & Evans, 1846. Appositely, given the very recent featuring of The Spades’ “You’re Gonna Miss Me“, and mention of 13th Floor Elevators in relation to the Austin influence on Arthur Lee + Love up here on SibLINGSHOT ON THE BLEACHERS, news has broken that Roky

communiqué #26: hard of hearing

Friends. Roamings. Siblings.While I am inclined to believe the recent dearth of commentary might just as readily be a symptom of sheer tedium – that interest has waned, as it inevitably must – I have been alerted from a distant quarter that certain comments were not registering as expected.That there may, in fact, be an

7 + 7 = 2 +2 = ♥

Released as a single in the summer of 1966 – ahead of their second album, “Da Capo” – “7 and 7 …” is relentless and driven; owing much to the primal rhthmic pulse emanating out of Austin, Texas, viz. The Spades and 13th Floor Elevators.Amphetamine fueled flailing at the Hop, with Danny and The Juniors

shut up and drink your gin

He went for one day, came back and told his grandmother that they were all imbeciles. He refused to go after that. He led this insular life – never had any idea how to relate to other people in a family way.”– John Corré,“Punk. A life Apart“, Steven Colegrave & Chris Sullivan, Cassell & Co,

jackie wilson says: higher and higher

A good time is not inevitably the end result of imbibing a surfeit of Jack Daniel’s. Unless you are secured in the company of brothers Traynor and sundry Nashville wild things. Guided by unwatered spirit; in pursuit of levitation. A higher plane. For suitably dishevelled ‘remasters’ of The Misfits and the Big Bopper, in addition

mo diddley died way back when

a karen cooper complex left me naked… SOILED. Bo Diddley meets The Residents.Or, to quote Bill Altice, former member of KCC:“The Karen Cooper Complex was “a band that played loosely structured, improvisational rock that was more “Bitches Brew” than Grateful Dead”. Spiced up with some looped guitar – liberally laced with Tourettes – straight out

cisco pike revisited [one night only]

previous to blade, there beat some monumental pulse. Written and performed by Kris Kristofferson.David Briggs: keyboards;Chris Gantry, Jerry Shook: guitar;Norman Putman: bass;Jerry Carrigan: drums;Donnie Fritts: piano, vocals.Engineered by Gene Eichelberger, Mort Thomasson,and Tommy Strong. Produced by Fred Foster. ▼ KRIS KRISTOFFERSON: THE PILGRIM (CHAPTER 33) from “The Silver Tongued Devil And I” LP (Monument) 1971

juxtapollution has spokane

1967 volkswagan bug.Troy Holder, custodian of Juxtapollution has been enviably busy of late. Working on his full length debut release and producing ambient sounds for “an upcoming web series“: Sockamamy.Troy first posted samples on his site at the turn of the year, and what I heard up there toasted my socks when the temperature outside