Jukebox Heart 007
The Late Night Obsessions of Jukebox Heart
64.7 MB | 69 Minutes
The new Jukebox Heart podcast is out now to provide you with 69 minutes of a continuous mix of music for your travels. Get it into your iPod quick before you leave to make your journey that much more palatable. Have a safe holiday, and stay up late with me and my late night obsessions…
The playlist and some notes are found after the cut.
Playlist:
F. S. Blumm – Badvanilla Further
(Fork Ends – Audio Dregs 2004)
Thought Universe – DX35NHI
(Red Zero Seven – Struktur Records 2003)
Five Way Mirror – Sleeping to Technology 2
(Transcendence – Burnt Hair 1999)
Flying Saucer Attack – In The Light of Time
(Chorus – Drag City Records 1995)
Honeymoon Killers – Decollage
(Les Tueurs De La Lune De Miel – Crammed Discs 1981)
Death in June – To Drown A Rose
(Brown Book – New European Recordings 1987)
Ida – Late Blues
(Heart Like A River – Polyvinyl Records 2005)
Small Sails – Somnambulist
(Similar Anniversaries – Other Electricities 2006)
Priscilla Bowman – Another Night
(B Side – Vee Jay 78RPM 1955)
Broadcast – Poem of Dead Song
(The Future Crayon – Warp 2006)
Buzzcocks – Ever Fallen In Love
(Singles Going Steady – IRS Records 1979)
New Order – Ceremony
(A Side – Factory 7-inch single version 1981)
Sonna – Smile
(Smile and the World Smiles With You – Temporary Residence 2003)
Oren Ambarchi – Inamorata
(In The Pendulum’s Embrace – Touch Records 2007)
Frank longs to make music. “Longing is a big impulse of making music for me: Trying to reach someone, something or someplace…through music. Trying to say something you cannot say with words. That’s why some of the best songs are Love-Songs, no?” That last question opens a lot of discourse, but certainly the music of F. S. Blumm may be thought of as romantic. This track is culled from an Audio Dregs compilation, Fork Ends, and was originally destined for somewhere else…The promise of sequence or series, of many releases to complete a theme, will always attract me. Red Zero Seven, the first in a series which set out to compile the rainbow with a set of seven, was the promising beginning, but the label only delivered 2 in the end. My latest obsession is the Burnt Hair label, run by everyone’s friends, Windy and Carl. The dreamy trippy sounds of Five Way Mirror, a collaborative effort between Windy and Carl and Violet Glass Oracle, the latest CD I’ve found. And it’s just too hard to believe that Flying Saucer Attack‘s amazing Chorus album dates back to 1995, but there it is. That’s one of my favorite tracks of theirs. And this is the Belgian Honeymoon Killers, delivering a fantastic post-no-wave track from their album that was out of print for over 20 years before it came out on CD. This is the original vinyl mix. From the Brown Book LP comes one of Death In June‘s most familiar songs, with Rose McDowall on female vox. I kinda had to tweak it around to fit it in the mix, but it’s a personal favorite. Ida‘s track here is just breathtaking, from the not-so-old album, with the unfortunate title of Heart Like A River. Oh well. On a hunch, I purchased the Small Sails CD. The cover art looked wrong enough, and the label seemed small enough. Ultimately it was the typeface design that sold me. And I’m glad it did. It sits among my Languis records as a distant cousin. And it’s hard to go wrong with anything you come across on the old Vee Jay imprint. In the 50s, before the Beatles, The Four Seasons and The Duke Of Earl flung the label into incomprehensible financial success, the label was predominantly blues, R&B doo wop and gospel. Released in 1955, the A Side quickly found national airplay, but it was the B-Side that established Priscilla Bowman as the new diva in town. And hoNEY! She rocked. Broadcast give a track from the B-Side collection CD, The Future Crayon. I’m more fond of their early work, such as the early singles collection CD; Work and Non-Work, but this collection is rather engaging. The Buzzcocks and New Order deliver two very fond favorites that need no further discussion, and Sonna weave around the outflow of the New Order single to give a good transition to the final piece offered by guitarist Oren Ambarchi from his latest release on Touch.
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