Tim Maia singing live and then taking over on the drum kit.
Tim Maia singing live and then taking over on the drum kit.
One of Bob Dylan’s least-loved LPs gets another look.
Two songs by Tim Maia in his pre-Racional phase, just getting into his religious thing. This was the opening night show along with Chico Buarque and Elis for the Bandeirantes Theatre.
ss thanks to paulo kishimoto
I managed to catch a screening of this heart-breaking documentary by Cristian Soto and Catalina Vergara while visiting Santiago, Chile last week.
An ad from Brazil for Tim Maia’s first LP and a stream of two of his classic lps – Racional Vol 1 + 2.
I recently returned from a trip to Brazil (with Lee Ranaldo and the Dust) and his LPs are difficult to find there however , I did pick up a few of his late 70′s albums on CD. We recommend that you start with the link below and purchase the excellent Tim Maia anthology ‘The Existential Soul of Tim Maia’ on Luaka Bop
Along with the short-lived NBC Night Music, New Wave Theater (albeit to a more limited audience on Los Angeles UHF Channel 18) may be the greatest slab of electic-music-focused American TV, running 1981-83. Originally featuring some mostly-local underground acts, the show’s hop over to USA’s Night Flight gave mainstream, cable-watching living rooms their first glimpses of Fear, Angry Samoans, and the Circle Jerks, and is documented by some out-of-print Rhino VHS anthologies. The show was hosted by Peter Ivers, an enigmatic, free-spieling genuine character of manic persona, who also wrote the Eraserhead theme song for David Lynch, and had several LPs for Epic and Warner Brothers. Ivers was found murdered in his apartment in 1983, suspect never found, his story is documented in a 2008 book called In Heaven Everything Is Fine: The Unsolved Life of Peter Ivers and the Lost History of New Wave Theatre.
Years ago I spun at an event put on by Ian Marshall that featured various artists fronting an Ivers covers band which was great, but I was also excited to see a lot of NWT TV clips that never saw You Tube’s light of day, or trickle on and off. Keep hearing word that there’s DVDs in the works, they’ll definitely be a treasure. Here’s some of my faves from the Channel 18 era that definitely highlight LA’s true underground and darker underbelly (or in Earth Dies Burning’s case, the very suburban underbelly). Love the lo-fi presentation of it all, stock footage of nuclear blasts in grainy VHS juxtaposed with mascara’d singers’ deer-in-headline stares, shrieks of “don’t let your kids drink the water!” It all had the immediacy and rawness that the bands were trying to portray, and the college-TV-studio effects certainly helped a bunch too. And naturally Ivers’ whimsical-yet-intense interviews make these shows a solid home run. I wish the Vox Pop clips were still up, they’re must-sees! (brian turner)
Castration Squad “A Date With Jack”
Suburban Lawns “Janitor”
Earth Dies Burning
One of the more fascinating releases of the year comes from the sharp curatorial ear of the Dust To Digital folks:
Lonnie Holley was born on February 10, 1950 in Birmingham, Alabama, the seventh of 27 children. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood.
Since 1979, Holley has devoted his life to the practice of improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, has manifested itself in drawing, painting, sculpture, photography, performance, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events.
Holley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. His music and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. In Holley’s original art environment, he would construct and deconstruct his visual works, repurposing their elements for new pieces. This often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. The layers of sound in Holley’s music, likewise, are the result of decades of evolving experimentation. “Just Before Music” features Holley’s first studio recordings made in 2010 and 2011.
Needless to say, this record floats out of speakers in a way that could indicate 1973, 83, 93, 0r 2013 (it is indeed a new recording, and he’s working on another with Black Lips/Deerhunter members assisting) and New Yorkers can see Holley play live tomorrow night, (March 22nd) at the Whitney Museum at 6:30pm as part of their Blues For Smoke Series. (Brian Turner)
It seems that a Spanish record company opted to hire a knockoff band to re-record Never Mind the Bollocks, rather than actually pay the Sex Pistols to license it. In a move akin to some of the K-Tel-style greatest hits (or the pseudo K-Tel compilations not recorded by the original artist in the ’70s), “Los Punkrockers” were brought in to record this 1978 piece of amazing vinyl, Los Exitos de Sex Pistols.
I dare say this genius record ups the snot factor: the guitar sounds cruder and almost plugged right into the board, the singer sneers and throws some curveballs into the lyrical scheme (the chorus of “Pretty Vacant”). It was already of questionable legality to start with but bootleg LPs appeared later on (as Stuart from Shit-Fi documents in detail). Too bad the Clash, Damned, et al didn’t get the same treatment and a few more paychecks for Los Punkrockers. (Brian Turner)
MP3: “Holiday In the Sun”
MP3: “Pretty Vacant”