Download Now: 8bitpeoples

Download Now is a new category on Jukebox Heart, centered around the idea of music that is officially released for free legal downloading. Each entry will feature an artist or label that puts less emphasis on the hard medium and distributes most, if not all, of their music for free via electronic media.

There are literally thousands of artists and labels actively distributing their music this way. This is a thriving scene priding itself of the free distribution and easy access to the music. So we start off this category on Jukebox Heart with 8bitpeoples.

You can find 8bitpeoples at www.8bitpeoples.com.

8bitpeoples is a DIY record label/arts collective centered in New York City that focuses around the 8-bit aesthetic, which is heavily influenced by vintage videogames. 8bitpeoples was founded in 1999 by Jeremiah Johnson (who records as Nullsleep) and Mike Hanlon (who records as Tangible). It is currently run by Johnson and labelmate Joshua Davis (who records as Bit Shifter). I chose 8bitpeoples for the first entry in this category because of the thriving global scene it presides over.

With so many artists to choose from, it was hard to pick one for this podcast, so I settled somewhat arbitrarily on Mr. Spastic and “Uber l33t n00b br34k5”. Click on the arrow below to hear the title track. The entire release is available for download at the 8bitpeoples website.

[audio:http://www.jukeboxheart.com/downloadnow/8bitpeoples/8bp078.mp3]

This release, 8bp078, is perfect for nerds, electronica fans, internet gurus and the average 8bit Joe. But, let it be known that it sounds like music hacking your eardrums on massive amounts of jolt cola. Don’t be fooled by the sounds of yesteryear, this is pure retro modern. Mr. Spastic will spas out your system and oscillate your hips to the funky clock ticks and digitized rhythms. Tres l33t!

“Mr. Spastic” started humbly by utilizing only freely obtained equipment, and in the beginning, it was an attempt at producing high quality lo-fi music with a very tight budget. Electronic breaks and nerd-ish raps were the momentum ascribed to by the first release and since then it has changed into more of an obsession. Retro-computing was an interest at an early age to Nathan, starting with the Tandy color computer, drooling over the Commodore 64, and eventually receiving a NES from his grandparents at a young age. Mr. Spastic is reliving his childhood and delving into forgotten pasts by using modern musical techniques and antiquated equipment, spastically synthesizing and unifying multiple platforms to produce original retro tunage.


Mr. Spastic.

As for the label, many artists who have appeared on 8bitpeoples have also appeared on compilations on other labels, most notably Astralwerks’ 8 Bit Operators compilation, a collection of Kraftwerk songs as done in the 8-bit style. 8bitpeoples is also involved in the organization of the Blip Festival, which features 8-bit musicians, often including those on the 8bitpeoples roster. The few hard-copy releases the 8bitpeoples puts out are mostly documents of these festivals, on CD and DVD. But there are other serioulsy-limited CDR releases as well.

8bitpeoples provide the vast majority of their releases for free via their website, downloadable in ZIP files which also include printable covers and inserts so that anyone can maje a hard copy of their releases.

The website shop offers whatever hard merch the label has to offer from CDRs to T-Shirts to gear which will help you turn your gameboy into a full fledged 8-bit synthesizer, so that you can create your own 8bitpeoples demo. Oopsie! Nevermind. Oh well, with over 100 downloadable releases to choose from, you won’t have time to make a demo for them anyway.

The Moonlight Lounge: Al Castellanos

The Moonlight Lounge was so much fun when it was a part of my old Moonlight Radio on-line jukebox, that I decided to resurrect it here in Jukebox Heart and keep its old name. This new category can best be described as “all things fabulous,” but if you need more detail than that, you can expect the kitsch end of the spectrum, with music from artists such as Arthur Lyman, Martin Denny, Hugo Winterhalter, Martin Bottcher, among others. Representative genres may be Cheesey EZ Listening, old soundtracks, ping-pong percussion, and general thrift-store stock. It’ll be fun, trust us…

[audio:http://www.paulcollegio.net/juke/juke0512/lounge.mp3]

We start of The Moonlight Lounge with a record that has become something of a family heirloom, and it will make you want to break out your smoking jacket or cha-cha heels. Or both. *wink*. “The Speak-Up Mambo (Cuentame)” was Al Castellanos’ first big hit with New York’s premier Latin music imprint, Mardi Gras. It was a precursor to his great tongue-twister (or speed vocal), “Merengue Ta-Ka-Ta”. The Speak Up album came a few years later, see the image below, and is one the label’s best, collecting many the orchestra’s 45s. Castellanos does equally well with cha cha chas (check out ‘Together 1-2-3’ if you ever come across that record!), mambos, and merengues in equal parts. Covered by (at least) the Manhattan Transfer and Brave Combo, this is a classic, and the best version, in my opinion, is this original. The LP was remastered and released by Fania in 2000, after being out of print for over 40 years.

Sing along, if you please: (It’s infectious. Try it…)

[Intro:]
IOA IOAE, IOA IOAE (Pronounced e-oh-ah, e-oh-ah-a)
IOA IOAE, IOA IOAE

Cuentame que te paso
Cuentame que te paso

Que estaba alla en la playa
Recorriendo las aguaritas
Y vino una abejita y me pico ay ay!

Cuentame que te paso
Cuentame que te paso

Yo me saque la loteria
Corriendo fui de romeria
Y fue alli donde to el dinero perderi

Pero las dos vienen las dos pao pao

Pao pao pao pao pao (chiquita)
Pao pao pao pao pao (senorita)
Pao pao pao pao pao

Pero las dos vienen la colococota
E La la la la la la la la la pao pao

Pao pao pao pao pao (chiquita)
Pao pao pao pao pao (senorita)
Pao pao pao pao pao

Woo-ooooooooooooooooooooooooooh!

Jukebox Heart Downtime

Hey. Sorry if you got a white-page when you searched for Jukebox Heart. Some glitch happened over at the hosting company, and it has ben resolved now. I’ve been out of town, so I don’t know exactly how long JBH was down, but we are back on line as of just a moment ago.

Carry on!

JB<3

Label Spotlight: Killer Pimp

Label Spotlight: Killer Pimp

Label Spotlight is another new thing on Jukebox Heart. This is a place to celebrate the labels whose oeuvre has been transformational. These will include labels from the past and those currently in operation. Jukebox Heart will select representative tracks from the label’s catalog and present a full length mix, with a little back story as well.

[audio:http://www.jukeboxheart.com/labelspotlight/killerpimp/KillerPimp2.mp3]
66.6 MB | 66.6 minutes

Starting off Label Spotlight on Jukebox Heart is the Killer Pimp imprint from Boston. Run by Brainwashed.com genius Jon Whitney, Killer Pimp is a separate beast from Jon’s Brainwashed activity. Killer Pimp offers up some of the most aggressive and low-punching music ever, and yet all of it has an engaging intellectual element which sets it all apart from literally everything else. Jukebox Heart has selected single tracks from the majority of the Killer Pimp catalog and pulled them all together as an hour-plus mix for you. Click on the arrow above to hear it.

Also included at the top of the page are four videos from artists appearing on Killer Pimp. These are outside of the Killer Pimp catalog, and presented as a sidebar to this podcast.

Killer Pimp embraces aggression.

Adjectives to describe music of Killer Pimp:
Intense, obscene, unavoidable, unlubricated, unapologetic, caustic, pungent, degenerate, virulent, severe, carcinogenic, corrosive, salacious, fetishable, toxic, chalky, venemous.

Killer Pimp says:
[There is a sea of mediocrity out there we will not be part of.]

Jon has done an amazing job of documenting his releases on http://www.killerpimp.com, so I’ll just include some capsule impressions, all below the cut. Make sure you visit the Killer Pimp site, and keep him in business for a long long time by buying something.

Playlist:

Ulterior “15”
A Place To Bury Strangers “Missing You”
Dead Letters Spell Out Dead Words “This Room Seems Empty Without You”
Lithops “Mound Magnet, Part 1” remixed by The Allophons
Noise/Girl “Discopathology” Fit To Screen remix by Jukebox Heart
Soundpool “Makes No Sense”
Aiden Baker & Thisquietarmy “Negative Space”
All The Saints “Shadow, Shadow” & “Sheffield”
Ceremony “Leave Alone”
Envenomist “The Eleventh Hour”
Blood Money “Damascus”
Scratoa! “IX”

Images, links and more info below the cut.

Not subscribed to Jukebox Heart yet? You should! It’s Easy and It’s FREE! But until you’re ready, you can download this podcast here. Jukebox Heart is also on Facebook and MySpace.

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The Modern Method: Computer Music From the University of Illinois

The Modern Method category presents a selection of twentieth centiry composer music – stochastically selected, of course. This new category is for modern academic music, since, conceptually, so much of it flows down into our beloved popular avant garde. So it’s good to keep a scholarly eye on these things…

Hiller/Isaacson/Baker – Illiac Suite for String Quartet, 3rd Movement
(Computer Music from the University of Illinois, Heliodor Records LP, 1967

[audio:http://www.paulcollegio.net/juke/juke0609/modern.mp3]

I couldn’t resist this LP at a flea market when I found it for 25 cents. Look at the cover. PUNCH CARDS. Excellent. The track here is written for string quartet, and was recorded in 1957. It is historically significant because it is the first substantial piece of music produced with a computer. Rules for composition were written for the university’s ILLIAC I computer, with compositional techniques employing some of the randomness ideology pioneered by Cage and Stockhausen along with a more directed approach as well. The Illiac, like the telharmonium before it and god knows how many other artifacts of genius, was eventually sold for scrap.

Live Transmission: Casiotone For The Painfully Alone.

And yet another new category on Jukebox Heart, this time it’s all about the happening. Live Transmission documents shows, and as such, will try to bring live video and other goodies to the table. For the premier event, it was April 28, 2010 at the Middle East Upstairs. Headlining the night was Casiotone for the Painfully Alone, who toured with Magical Beautiful. Opening for both was Vancouver band Yukon Blond. I just wonder why I never thought to do this before. Hmmm.

The intent is to bring you some video slices from the evening’s performances, but, on our Virgin Run, all of the videos’ audio tracks were dramaticlly compressed, so the videos were useless. I know. Lame. Better luck next time. But the show was still exciting, so I wanted to start this off with Casiotone For the Painfully Alone anyway. Instead, I’ve include some tracks from the bands’ studio output.

Yukon Blond were straight ahead, current and tight power-pop with an outstanding drummer who was in spontaneous combustion mode for the band’s last track. Well crafted and expertly performed, but nothing new enough to move dollars from my wallet in exchange for their records.

Opening for CFTPA was Magical, Beautiful who are made up of four members of the CFTPA touring band.

Magical Beautiful “Platform on the Lake”
[audio:http://www.jukeboxheart.com/live/cftpa/magbeaut.mp3]

The track above is taken from one of CDs the band was selling at the merch table entitled “Not Building a Wall But Making A Brick.” While I had been filled in about the beauty of Magical Beautiful by friends who had seen the band in DC several days before the show in Boston, they were still an unexpected delight. The band immediately brings to mind an early factory records amalgam of Key of Dreams-era Section 25 and early A Certain Ratio. Lots of synths over a combination of live and electronic drums as well as brass and distant vocals. Very nice! I’m sure you won’t be able to find any of their recordings in stores, so visit the band’s website to learn about their other releases and how to obtain them.

Casiotone for the Painfully Alone, on the other hand, was an entirely different venture. Heart-throb Owen Ashworth had a variety of boys and girls swooning in the audience as he retold all of his endearing stories on the stage before us. Owen has a way of taking the experiences we have all had and relating them in a way that we all can appreciate. With song titles such as “It’s Winter and You Don’t Love Me Anymore,” “Tonight Was A Disaster,” “I Should Have Kissed You While I Had The Chance,” and “A Normal Suburban Life Is A Near Impossibility Once You’ve Fallen In Love With An Inernational Spy,” one cannot help but but say “Yeah, that’s me he is singing about!” His unique, decidely lowfi approach provides a living soundtrack, and his deadpan vocal is the default voice in our minds. I’ve included two tracks here. One from an early album “Answering Machine Music”, and a gorgeous electronic instrumental from a more recent EP, Town Topic.

“A Normal Suburban Life Is A Near Impossibility Once You’ve Fallen In Love with an International Spy”
[audio:http://www.jukeboxheart.com/live/cftpa/casiotone1.mp3]

“Lesley Gore on the TAMI Show”
[audio:http://www.jukeboxheart.com/live/cftpa/casiotone2.mp3]

Owen started CFTPA after he dropped out of film school in 1997. His frst single appeared shortly in 1998. (Want!) The three songs it contained appeared re-recorded on Answering Machine Music. The musical style is characterized by the use of electronically produced beats, cheap keyboards, and slow, frank lyrics. On 2006’s Etiquette album and forward, Owen widened his musical horizon and added more analog instruments and an overall more organic sound. Answering Machine Music was first released in 1999 on Owen’s own label Cassingle USA. It was reissued on Tomlab in 2002 and included four bonus tracks. In 2005, a remastered version of the album, along with a remastered version of Pocket Symphonies for Lonesome Subway Cars, was released on Tomlab as The First Two Albums by Casiotone for the Painfully Alone.

Their current tour is just about over; if you missed them this time, don’t let it happen again!

Threshold: Mission of Burma

[audio:http://www.paulcollegio.net/juke/juke0411/pivotal.mp3]

Kicking off a new category on Jukebox Heart, “Threshold”, these are tracks which, once heard for the first time, or seen performed live, somehow altered my path and the paths of people around me. In the context of art overlapping punk, Mission of Burma stayed strongly within context, and at the same time, showed what was possible by moving outside of it. The power of this particular song, especially when seen performed live, had the potential to be overwhelming.

Of all the punk-inspired bands that came out of Boston in the early ’80s, none were better than Mission of Burma. Arty without being too pretentious, capable of writing gripping songs and playing with ferocious intensity, guitarist Roger Miller, bassist Clint Conley, drummer Peter Prescott, and tapehead Martin Swope galvanized the city’s alternative rock scene, and despite a too-short existence set a standard for excellence that has rarely been equalled – a standard the band upheld when they unexpectedly reunited in 2002.

Here is the band performing Trem Two in 1983…

Burma’s music is vintage early-’80s post-punk: jittery rhythms, odd shifts in time, declamatory vocals; an aural assault similarly employed by bands such as the Gang of Four, Mekons, and Pere Ubu – Burma’s peers as well as their influences. Also, conspicuously present in the mix was the proto-punk of the Stooges and Velvet Underground (with just a dash of Led Zeppelin and Roxy Music), bands that inspired Burma’s darker songwriting impulses and tendencies toward long-ish, repetitive jams capable of boring holes into your skull. What Burma added was a sonic texture through the use of extreme volume. Roger Miller’s guitar enveloped the band in thick, distorted cascading chords, erupting into squealing solos and (intentional) squalls of feedback. With Prescott and Conley furiously bashing in support, the band’s sound was extremely physical (ask anyone who saw them live) to the point of leaving the audience feeling slightly bruised, battered, but extremely happy.

After releasing an explosive single (‘Academy Fight Song,’ still one of punk rock’s greatest songs) on Boston’s then-hippest indie label, Ace of Hearts, Burma released two excellent records in just over a year: the Signals, Calls and Marches EP and their only full-length studio album, Vs. The former was poppier, but in a breathtakingly intense way; the latter dark and ominous, lacking in riff-heavy punch, but still delivering a wicked blast of aural chaos. Unbeknownst to fans, this was the beginning of the end. The massive volume, a key element in Burma’s sound, had taken its toll on the bandmembers, especially Miller, who developed a severe case of tinnitus that hastened the band’s demise. (Always the trooper, Miller played the band’s final tour wearing a protective headset used on shooting ranges to prevent his ears from absorbing more punishment.) After a bittersweet farewell tour in 1983, the shows were released as a live LP entitled The Horrible Truth About Burma, an occasionally thrilling example of their considerable stage prowess.

Miller since went on to a career as a solo artist and with his non-touring band Birdsongs of the Mesozoic. Prescott formed the wonderful Volcano Suns, who released a half-dozen records all worth checking out, before starting Kustomized with ex-Bullet Lavolta singer Yukki Gipe. Clint Conley produced the first Yo La Tengo record and various singles, including one for The flies, and then left the music business. He went on to work as a producer at Boston television station WCVB.

In 2001, Peter Prescott’s short-lived band The Peer Group played a show opening for reunited British art-punks Wire, and Roger Miller and Clint Conley tagged along to play an encore with Prescott, marking the first time the three had appeared on stage together since 1983. Later that year, Mission of Burma were featured prominently in Michael Azerrad’s book on the indie-rock scene of the 1980’s, Our Band Could Be Your Life, and Conley began writing and performing music again with the band Consonant. After The Peer Group folded, the three performing members of Mission Of Burma decided to stage a pair of reunion shows in early 2002. (Martin Swope opted not to participate; live sound and tape loops were instead handled by Bob Weston of the group Shellac). One concert in New York became two sold-out nights at the Irving Plaza, and a single night in Boston became four shows at three venues (including an ‘open rehearsal’ under the name Myanmar); the group also joined the lineup for the 2002 All Tomorrow’s Parties festival in England, followed by short tours of the West Coast and Midwest. Along with playing a handful of live dates in 2003 (including the American edition of All Tomorrow’s Parties), Mission of Burma returned to the studio for their first recording project since Vs., and Onoffon was released by Matador Records in the spring of 2004, who in a press release said of the album ‘this isn’t just a hot new release, it’s a goddamn cultural event.’More albums folowed, as Burma reestablished themselves.

Queer Street: Jazz On Jukebox Heart – Count Basie

[audio:http://www.jukeboxheart.com/queerstreet/basie/basie.mp3]

Count Basie – Midnite Blue
[Basie E=MC² LP, Roulette Birdland Series, 1957]

I spotted this recently at a tag sale, grabbed it, and said this is going straight to Jukebox Heart. An early release in Roulette’s Birdland Series, plus that cover image! WIN. Sunday morning at Jukebox Heart means strong coffee, lazing around with newspapers everywhere, and old jazz records like this going round and round.

This is the original LP, also known as “The Atomic Basie,” and reissued on CD as “The Complete Atomic Basie”; the reissue CD contains five bonus tracks. The personnel on the album are:

. Wendell Culley — trumpet
. Snooky Young — trumpet
. Thad Jones — trumpet
. Joe Newman — trumpet
. Henry Coker — trombone
. Al Grey — trombone
. Benny Powell — trombone
. Marshall Royal — reeds
. Frank Wess — reeds
. Eddie Lockjaw Davis — reeds
. Frank Foster — reeds
. Charles Fowlkes — reeds
. Count Basie — piano
. Eddie Jones — bass
. Freddie Green — guitar
. Sonny Payne — drums
. Joe Williams — vocals (track 16)
. Neal Hefti — arrangements

Time for another cup…

Special Report: Bassett Hand

[audio:http://www.paulcollegio.net/juke/juke0503/45.mp3]
This 45 has been in my collection since time immemorial, and until recently, information about it has been totally elusive. The A Side sounds like it could have been used for the theme for a show for teaching language skills to adults; a sexier Sesame Street, what with the ‘Baby, Baby’ interlude and the foot-shufflin’ hip-swingin’ gum-snappin’ pool-shootin’ rhythm. *This* Sesame Street is squarely in the red-light district, and its residents drink & smoke and fuck like bunnies in the backseats of Buicks. And the flipside? Arguably the worst song ever recorded. So the debate began? Lost 45? Or Incredibly Strange Music?

Anyway, the more research I did on this record, the more intriguing it became. All the information I could find was peripheral, but apparently the characters behind Bassett Hand went on to be responsible for music more directly Jukebox Heart-ish. Hence, this Special Report. Oh yeah, here’s that fabulous flip side…

[audio:http://www.paulcollegio.net/juke/juke0503/45b.mp3]

But exactly who is Bassett Hand? An internet search doesn’t yield much. According to the Global Dog Productions discography for Josie Records, this single was released in 1965, along with one other that same year. This coincides with the timeframe for the information below.

A little more digging yielded an entry into the Spectropop Discussion Group archives:

> Does anyone know what the term BASSETT HAND means on Bang Records
> labels?

The liner notes to Robert Feldman’s career retrospective LP “Roots Of
S.O.B.*, Vol. 2” include this dedication (among several others):

“To Richard Gottehrer & Gerald Goldstein: The 2 “G’s in F.G.G., aka
Niles & Giles Strange aka Bassett Hand, etc., etc., thank you for some
of the best years of my life. The memories and the music will always
be there.”

The collection includes two Bassett Hand tracks, “Happy Organ Shake”
and “Soul Paradise,” (the other 45 on Josie) but offers no writing credits for these or any of its other tracks…

A close look at the record labels above will show the FGG team scores writing credits for both the tracks as well. Further investigation links Bassett Hand to many production credits on the famous 1960’s imprint, Bang Records as well as some intersting surprises. The place to begin is with The Strangeloves.

The Strangeloves were the creation of an American songwriting/production team in the 1960s who were from New York but pretended to be from Australia. Their biggest hits were “I Want Candy,” “Cara-Lin” and “Night Time”.

Bob Feldman, Jerry Goldstein and Richard Gottehrer (FGG Productions) had already scored big hits for other artists, including “My Boyfriend’s Back” by The Angels, when they decided to invent The Strangeloves.

According to the press releases, The Strangeloves were three brothers named Giles, Miles and Niles Strange who had grown up on an Australian sheep farm. The brothers’ faked backstory involved getting rich with the invention of a new form of sheep crossbreeding (the long-haired “Gottehrer” sheep, allegedly registered with the Feldman-Goldstein Company of Australia), allowing them the time and financial freedom to form a band. The story did not exactly capture the public’s imagination, but the music still performed respectably on the charts.

When “I Want Candy” became a hit single in mid-1965, the producers found themselves in the unfamiliar and uncomfortable position of performing as live artists. This short-lived experience was followed by a road group composed of four of the studio musicians who had actually recorded these songs. The musicians in the initial road group were bass player / vocalist John Shine, guitarist Jack Raczka, drummer Tom Kobus and sax player / vocalist Richie Lauro. This group was replaced in early 1966 by a trio of FGG studio musicians that more closely adhered to the founding concept of the Brothers Strange: guitarist Jack Raczka (Giles Strange), drummer / vocalist Joe Piazza (Miles Strange), and keyboardist / vocalist Ken Jones (Niles Strange).

While on the road in Ohio in 1965 as The Strangeloves, Feldman, Goldstein and Gottehrer came upon a local band known as Ricky Z and the Raiders, led by Rick Derringer (who was Rick Zehringer at the time). Recognizing their raw talent, the producers immediately brought Rick and his band to New York, recorded Rick’s voice over the existing music track from The Strangeloves’ album I Want Candy and released “Hang on Sloopy” as a single under the name The McCoys.

The Strangeloves’ only LP, I Want Candy, was released in 1965 on Bert Berns’ Bang Records, with several of the album songs having been released as singles. Other singles by The Strangeloves have appeared on Swan Records and Sire Records.

Their songs have been covered by The J. Geils Band, The Fleshtones, and (with great pop success) by Bow Wow Wow.

Gottehrer went on to later fame as a record producer of early CBGB’s luminaries such as Richard Hell & The Voidoids, The Fleshtones, and Blondie, as well as being the co-founder of Sire Records along with Seymour Stein. He also worked with Robert Gordon, who was one of many who revitalized rockabilly in the late 1970s.

In his role as a producer and manager, Goldstein also continued to have an effect on the music world. He suggested to the band Nightshift that they team up with Eric Burdon, which became War, and had the Circle Jerks on his Far Our Productions management company and LAX record label.

The following credit appears on every Strangeloves record: “Arranged and Conducted by Bassett Hand.” In fact, there is no such person as “Bassett Hand.”

Fascinating.

Some more photos for my collector geek buddies:

Note the Bassett Hand credit:

And a picture of the band from the LP jacket:

Most recognize the yin/yang design of Sire Records from the late 70s and later.
Here is an early Sire Records label design: