Re: What are you listening to after the election?

What have people been listening to over the past few days, either for comfort or celebration? For me, it's all Mekons: "Sometimes I Feel Like Fletcher Christian" and "Hard to be Human Again".

I Love a Millionaire?

How 'bout "I'm So Bored With the USA"?

Auf Wiedersehen by Cheap Trick

Bull and Bush Florrie Forde

Stop Breakin Down Blues R Johnson

Republicans Zappa

F##K America Choking Victim

Suicide Is Painless Theme From MASH

Rednecks Randy Newman

Leaving On A Jet Plane someone geeky

OHIO CSNY

Volunteers Jeff Airplane

The American Ruse - MC5

The Who's "Won't Get Fooled Again"

"Meet the new boss/ Same as the old boss"

(from friends):


Kinky Friedman: "They Don't Make Jews Like Jesus Any More"

"Onward Christian Soldiers"

Steve Earle "The Revolution Starts Now"

Public Enemy "It Takes a Nation of Millions to Hold Us Back"

Wrathchild America: "Surrounded By Idiots"

Brady Bunch "Time to Change"

Clash "Staight To Hell"

(Proud of and impressed by all of the above)
I needed mellowing and reassurance.

COCTEAU TWINS Victorialand (first I mistakenly typed Victoryland)
NEW PORNOGRAPHERS The Electric Version
BUILT TO SPILL Ancient Melodies
SPIRITUALIZED Let it Come Down
YO LA TENGO Ride the Tiger
BADLY DRAWN BOY Have You Fed the Fish?



Post Edited (11-06-04 19:02)

mmmmmm...

nice

BDB is one of my fave bands...have you seen him live? i hear he's
a) TINY
b) drunk
c) virtually insane, as he constantly attacks audiences, like a superior don rickles

in other words, pretty GD fascinating


i just noticed TP does not have a review for his work.


mmmmm.....

Born Against and Articles of Faith

well it ain't going to be bootlegs!!!!




From the Washington City Paper.
District Line
From the November 12, 2004 issue.

Bootlegged Out

Raid puts Rockville used-record haven in jeopardy.

By Mike DeBonis

Most days, it isn't hard for a scruffy music nut like Tim Shea to
find a heavenly moment or two surrounded by the tens of thousands of
albums at Joe's Record Paradise.

Friday, Oct. 22, however, wasn't one of those days: The 19-year-old
employee of Joe's, a used-record store in a hardly arcadian strip-
mall storefront in north Rockville, was organizing newly arrived CDs
when about a half-dozen cops burst into the store.

"We were kinda like, the hell's this?" says Shea. The cops, dressed
in boots and bulletproof vests, demanded the store's keys and sternly
asked customers to leave.

"We really had no idea [what was going on]. It made no sense," says
Johnson Lee, another employee. "They said, `We're looking for illegal
recordings....Point us to your live imports or bootlegs or we'll tear
this place apart. We have authority to seize everything here.'"

Adding to the confusion was the raiders' affiliation: They weren't
feds. They weren't even Montgomery County's finest. They were vice
cops from Baltimore.

Four hours later, the cops were gone, along with 115 CDs mostly
by '60s and '70s rock acts, a computer, an address book, and $841
authorities said were associated with bootleg sales. Police
simultaneously raided Joe's Record Paradise's second location, in
northeast Baltimore, seizing 66 recordings and more than $1,300.

The seized records weren't copies of the latest Good Charlotte or
Kanye West albums. Those would be pirated or counterfeit CDs—illegal
copies of officially released titles—none of which Joe's carried. The
seized CDs were bootlegs, amateur recordings of unreleased radio or
live performances, which are often of borderline sound quality.

Joe Lee, who founded his stores in 1974, remembers an era where
unscrupulous record-store owners would set up a "back room" to peddle
bootlegs from the top bands of the day. "Those days have been over a
long time," Lee says. The bootlegs at Joe's come in with record and
CD collections; depending on their rarity, Lee says, he sometimes
pays a premium for them.

Today, Internet trading has rendered the once-thriving tape trade
nearly obsolete. Lee's inventory reflects that: Of upward of 150,000
items per store, authorities seized fewer than 200 bootlegs
altogether. Of those, Lee says most were of dinosaur-rock acts—the
Beatles, Led Zeppelin, Bob Dylan—or of more contemporary jam bands
that encourage live taping. "Half of the recordings sounded terrible.
It's for collectors who want every little thing," he says.

According to the warrant that police presented at the raids, an
investigator from the Recording Industry Association of America
(RIAA) initially discovered bootlegs at the store's Baltimore
location and approached that city's police, who bought several to
obtain the warrant. After learning about the Rockville location from
the Joe's Web site, an undercover Baltimore cop bought live
recordings of Led Zeppelin and Phish concerts from the Rockville
store. The raids soon followed.

Until the mid-'90s, the RIAA regularly issued press releases touting
mass bootleg seizures; today, such events are rarely mentioned,
supplanted by the organization's high-profile battles against
Internet pirates and counterfeiters. The numbers bear out the
decrease: Last year, authorities seized nearly 200,000 fewer bootlegs
than in 2002—a decline of more than 80 percent—while seizing hundreds
of thousands more counterfeits, according to RIAA figures.

Still, in recent years, the law has gotten tougher on bootleggers as
legislators have mandated ever-expanding terms of copyright
protection. The law once protected live recordings for a maximum of
28 years; today, works are protected 70 years after an artist's death.

The legal foundation for such extended protections, however, may be
crumbling: In late September, a federal judge in New York threw out
charges against a record-store owner dealing bootlegs similar to the
ones Joe's carried, citing unlawful regulations that
granted "seemingly perpetual protection" to musical recordings. The
federal ruling does nothing to help Lee, whose stores were raided
under Maryland state law.

Brad Buckles, the RIAA's executive vice president for anti-piracy,
says though bootleg raids have gotten less media attention in the
face of the "sexier" Internet prosecutions, they are still a problem.
Buckles says the problem lies mainly with dealers "trying to replace
what's real hot, what's coming out." He declined to comment on the
specifics of Lee's case.

Lee says the raid is particularly ironic given that he's dealt in
bootlegs not just with private collectors, but also with the
government—the Library of Congress, in particular. Last year, library
officials approached Lee about trading some unused materials. "[They
said], `We're looking for bootlegs—we need live recordings,'" Lee
says. It all goes, in Lee's view, to the ubiquitousness, the banality
of the bootleg; more than once, Lee claims bootlegs are "no big deal."

Big deal or not, Buckles still thinks bootleg prosecutions are
important: "It may not be a huge economic impact to one of the major
labels, but if you're the band...These people are stealing....I don't
want to give the impression this is innocent conduct."

Two weeks after the raid, many remain in the store, by Lee's own
admission. "My stores will never be purged of bootlegs," Lee says,
noting that they come in so many various forms it can be hard to
distinguish between them and legitimate recordings. "People aren't
threatened by bootlegs," he says.

His business, however, is. Another area raid target, Baltimore's
Sound Garden, was fined $15,000 after a similar raid in 1998. The
RIAA hasn't yet approached Lee about a possible settlement; if or
when it does, he doesn't plan to hire a lawyer. He's having second
thoughts on re-signing his lease in Rockville. A hefty fine, Lee
says, may force him to cancel his employees' health insurance, which
he refuses to do. "If I have to spend $15,000 to settle, $20 grand
for a lawyer"—Lee stops and waves. "Sayonaro. I've put in my 30
years."

"I just don't feel I've hurt the Beatles or Led Zeppelin," he
says. "Maybe I'm one of those sociopath types."

Apparently, "(Don't Go Back To) Rockville" is now near the top of the list. Damn Bush's America!!!

i wasn't going to investigate but this review fans my flame (no jokes, please)

BUT a friend who has boot masters says box set has dumb fake duophonic channelling and constant irritating reverb added.

whose a gd expert out there????





Critic's Notebook: Early Beatles, U.S. Style

November 16, 2004
By ALLAN KOZINN





The clamor began on this side of the Atlantic the moment
EMI released the Beatles' albums on CD in 1987. American
collectors who in their youth wore out copies of albums
with titles like "Meet the Beatles," "Something New,"
"Beatles '65" and "Yesterday and Today" were unable to find
those discs.

What EMI had done was eminently sensible. The label,
together with Apple, the Beatles' company, had decided that
on CD the Beatles recordings would follow the British
discography, using the songs, album titles, cover art and
liner notes that the group and its producer, George Martin,
assembled and approved in the 1960's. These were the
Ur-text. They were also the versions available in most of
the world.

But they were not the albums American collectors knew, and
given the size of the American market that is not an
insignificant point. It may be that the British albums
followed the history of the Beatles as most of the world -
and not least, the Beatles themselves - knew it. But for
millions of listeners in the United States, the history of
the band's music unfolded a bit differently, and when the
first CD's were released, American fans discovered albums
that bore only a vague resemblance to those they knew.

"With the Beatles," for example, uses the same cover photo
as "Meet the Beatles" - the four Beatles, in turtlenecks
and partly in shadow - but has a largely different track
list. Taking the disc out of that familiar cover, listeners
in the United States wanted to hear the energetic opening
chords of "I Want to Hold Your Hand." What they got was the
vocal introduction to "It Won't Be Long." Similarly,
"Beatles for Sale" offered a lineup close to what American
listeners knew as "Beatles '65," but without the big hits
of the time, "She's a Woman" and "I Feel Fine."

Many listeners have been dissatisfied ever since and have
filled fan magazines and Beatles-related Web sites with
pleas for the release of the albums they knew and loved.
With the release today of "The Capitol Albums, Vol. 1"
(Capitol), a set that brings together "Meet the Beatles,"
"The Beatles' Second Album," "Something New" and "Beatles
'65," all from 1964, these collectors can begin to rest
easy.

As it turns out, even collectors who were never
particularly nostalgic about the American albums and who
believe that EMI and Apple should be pursuing other
priorities - and I count myself among them - have reason to
admire this set. The label has gone the extra mile in
dealing with fan obsessiveness. It has used the Capitol
masters from the 1960's, rather than remixing the tracks or
recompiling them from the existing CD's. That was necessary
because Capitol's postproduction methods yielded a sound
quite unlike that of the British recordings.

Moreover, the set includes both the mono and stereo mixes
of each album, a move that not only restores more than 30
stereo tracks to the catalog (the early albums were
released on CD in mono only), but also preserves mixing and
editing anomalies that are unavailable elsewhere. An
example: the mono version of "I'll Cry Instead" has an
extra verse spliced in, something not found in the American
stereo or British mono and stereo versions.

I'm finding this set a guilty pleasure. Sure, I grew up
with these albums, and I played them to death, going
through several copies of each as they acquired the skips
and scratches that naturally accrue to a vinyl LP played 20
times a day on substandard equipment.

But once I discovered the British versions, in a Greenwich
Village import shop in 1968, and realized that those were
the albums the Beatles thought they were making, the
American discs began to seem bowdlerized and illegitimate.

It was easy to find the Capitol discs objectionable. They
seemed to trample on the Beatles' creative intentions, and
for all the wrong reasons. Where the British albums
typically offered 14 tracks, Capitol's offered 10 or 12. It
was also Capitol's policy to treat singles as drawing
cards: if you liked the hit, you would buy the album. The
Beatles took a different view. With only a handful of
exceptions, they adhered to a policy of keeping albums and
singles separate. For them, why should a fan who bought the
single have to buy those songs again on an LP?

Because the Beatles produced an album every six months in
those early days, as well as a few singles (and even, in
one case, a four-song EP), Capitol's policies made it
possible to release three LP's for every two released in
England. That approach persisted until 1967, when even
Capitol's executives realized that dissecting and
redistributing the songs on "Sgt. Pepper's Lonely Hearts
Club Band" would be seen as an act of cultural vandalism.

Capitol had some sound issues as well. American listeners,
Capitol executives believed, liked a bit more reverb than
British producers used. Maybe they were right: disc jockeys
back then sounded as though they were broadcasting from
echo chambers, and hit records often sounded that way, too.
So Capitol's engineers added reverb to the original
recordings. They also, when only a mono recording was
available - mainly in the case of the singles - created
what they called duophonic mixes for the stereo LP's. This
involved splitting the mono signal into two channels,
boosting the bass on one and the treble on the other,
introducing a slight delay between the channels, and adding
reverb - all of which fooled the ear into hearing a
recording as stereo.

Having ignored the American discs all these years, my
memory was that these techniques yielded a horrifyingly
muddy sound. But revisiting them on CD, I found that songs
like "Roll Over Beethoven" (real stereo, with reverb
added), "She Loves You," "You Can't Do That" and "I'll Get
You" (all duophonic) actually sound more vibrant than the
British versions.

No doubt some unbidden nostalgia has been creeping in.
Tampered with though it may be, this is the sound so many
of us fell in love with in 1964. And although the albums
were cobbled together - "The Beatles' Second Album," for
example, is a stew of "With the Beatles" tracks that didn't
fit on "Meet the Beatles" and songs that had been released
on singles and on an EP - they flow in a way that has its
own logic, if only that of deeply ingrained memory.

And maybe it's time to give Capitol's production staff a
measure of belated respect and to recognize, however
heretical it may seem, that in some cases their sequences
work better than the Beatles' own. In its American
incarnation, "Rubber Soul" (an album that will presumably
be included in "The Capitol Albums, Vol. 2" along with
"Beatles VI" and "The Early Beatles") begins with "I've
Just Seen a Face," an acoustic track that starts with an
assertive, beautifully detailed, fingerpicked guitar
figure. In Britain, the song was virtually a throwaway,
lost on Side 2 of the "Help!" album, released a few months
earlier. But it thrives on "Rubber Soul," and given that
the album is largely acoustic, it makes a better opener
than the electric, bluesy "Drive My Car," which kicks off
the British version.

Still, now that the demand for the American albums is being
addressed, perhaps EMI and Apple can get down to more
pressing business. The British CD's desperately need a
sonic update, and the release of the stereo mixes of the
first four albums, as well as the mono mixes of everything
from "Help!" through the "White Album," are long overdue.
And DVD versions of "The Beatles Anthology" and "Yellow
Submarine" proved that surround-sound mixes of the band's
full catalog are likely to be revelatory as well. Just
about every important band from the 1960's and 70's has had
its catalog revamped since 1987. It's amazing that the
Beatles have let substandard CD's represent them for so
long.

[www.nytimes.com]

anything by the Treatments.



archie suicide

Steppenwolf "Monster"

Immediately after the election, I gravitated towards eighties British bands with decidedly anti-Thatcher lyrics. The issues and sentiments were surprisingly familiar to the disappointment I felt after learning that Bush had finally been elected to a second term.

1. "The People Who Grinned Themselves To Death" The Housemartins
2. "Get Up Off Your Knees" The Housemartins
3. "Mr. Unreliable" The Inmates
4. "Know Your Rights (All Three Of Them)" The Clash
5. "Little Boy Soldiers" The Jam
6. "Smithers-Jones' The Jam
7. "Carnation" The Jam

The final choice especially struck a chord. The final lyric, "because I am the greed and fear and every ounce of hate in you," seemed to paint a picture of many Bush supporters. The incompetent incumbent was voted in by greed, fear, and hatred.

[www.rhino.com]

track listing of new rhino box for 1980's indie scene:

gotta few arguments??!!

young marble giants
husker do
my bloody valentine
high llamas
pavement singles
sonic youth

mmmm

sy is there and i think husker du

i gotta wear my reading glasses at PC!!

Black Flag "Gimme Gimme Gimme"
Iggy "Search and Destroy"
Social Distortion "Gotta Know the Rules"
APC "What's Goin' On"
Minor Threat "I Don't Wanna Hear It"
Husker Du "Turn on the News"
Rage "Killing in the Name"
Steve Earle "The Unrepentant"
TOOL "Ticks and Leeches"

wanna see my radio playlist for the election? Here it is... punk and hardcore mostly...

AUS-ROTTEN-When You Support Those Fucking Bastards
DISCHARGE-The Nightmare Continues
SEEIN' RED-Poverty On The Rise
TSOL-Abolish Government/Silent Majority
TOXIC NARCOTIC-We're All Doomed
SUBHUMANS-America Commits Suicide
THE EX-Stupid Americans
RF7-Ugly American
PREVARICATORS-Jesus H. Falwell
BLACK MARKET BABY-Downward Christian Soldiers
BRIEFS-We Americans
DEADFALL-The Worst Four Years
STRUNG UP-Bomb The Enemy
STRAIGHT TO HELL-I Believe In Nothing
WARDS-Fear Government
NO MUSIC-City To City
NO HOPE FOR THE KIDS-Ready To Kill
CRASS-Don't Get Caught
BREAKING CIRCUS-Christian Soldiers
MINISTRY-No W
MDC-Business On Parade
ANGRY AMPUTEES-Dubya
MAN AFRAID-Stars and Stripes Forever
DILLINGER FOUR-The Great American Going Out Of Business Sale
TWISTED SISTER-We're Not Gonna Take It