Wednesday, December 24, 2008

A John Waters Christmas (2004)

I'm sitting here, freshly poured white russian in hand, enjoying Phil Spector's brilliant holiday album, A Christmas Gift For You, after putting together my nephew's new drum set and I'm thinking to myself "sometimes, Christmas is fantastic!". So, in honor of my splendid mood, i'll share something with you. I discovered this album a few years back when I went through my first John Waters binge. It's totally great! One of my favorite holiday albums, way up there with Spector's. These are songs that John Waters himself has chosen, a mix tape of sorts, to share with everyone on his favorite holiday of the year. I got to see Waters live last christmas for his annual stand-up thingy and if you ever get a chance to go I recommend taking it. He's a great man to hear speak. So anyways. Please, sit back, pour a drink, and enjoy this holiday gem! And have a good holiday season assholes!

"Just when you think you can’t stand to hear another Christmas carol, here I come with a holiday treat that will make you actually appreciate the insanity of the Yuletide season. Wrap this CD as a gift to yourself, pretend you forgot what it is and act surprised when you open it. Close your eyes and imagine you’re with me at my house Christmas morning listening to favorite carols.

What better music to open your Xmas stocking with than “Fat Daddy (is Santa Claus)” ?! Fat Daddy -- Baltimore’s one-time coolest rhythm and blues disc jockey, host of “Negro Day” on “The Buddy Deane Show”, and my inspiration for the Motor Mouth Maybelle character in “Hairspray” -- never sounded so lovely, so cheery, so ripe to be asked over for eggnog. Maybe Tiny Tim could join us. No Mrs. Miller, this eccentric but brilliant performer may have been a novelty act in his day, but when he sings, “Rudolph The Red Nosed Reindeer” like a Christmas canary, he’s no joke in my house.

Of course, some of us get neurotically religious during the holiday season, so “Happy Birthday Jesus” by scary “Little Cindy” will be just perfect to play if Christian guilt ever creeps into your celebration. Listen to this child’s voice; so godawful, so devout, so beautiful, so perfect. No second take in the recording booth for this motley moppet! “Little Cindy” regrets nothing and neither should you.

A lot of my Baltimore friends might be described as “extreme white people” so I hope you don’t mind if I invite a few of them over to join us. They especially like to get drunk and sing-a-long with “Here Comes Fatty Clause” and complain about future bankruptcy because of gift giving. Of course, some of these guests get the “whirlies” and are unable to stand up without falling down so I put on the crippled Christmas carol “Little Mary Christmas” and we all shed a tear over the pathologically maudlin orphan who “hobbled back to her room” after being passed up for adoption year after year.

But who needs to feel sad at Christmas, right? Especially when Big Dee Irwin and Little Eva belt out “I Wish You a Merry Christmas” in a soulfully obscure holiday greeting that makes me wish I had their heirs’ home addresses so I could wish them a merry one, too. Of course, not all of our friends could make it over here today, so when we listen to the melancholy “Santa, Don’t Pass Me By” and think about that country singer hitching a ride with Santa to get home for Christmas, I bet you’ll feel like picking him up and buying him a present all on your own.

I can’t help it, I have the hots for “The Chipmunks.” We all have a type, what can I say? When these mischievous little friends ring those “Sleigh Bells”, I feel so happy, so aggressive that I want to get dressed as Santa, go out and scare the neighbors. Just when I think no Christmas song could be any closer to my heart I hear the nasal good cheer of “Sleighbells, Reindeer & Snow” and wish I could get a stuffy nose. I fix everybody another cocktail and we sit back, count our blessings and marvel at the almost cinematic use of the musical instrument, the theremin, in “First Snowfall.” I remind my guests that being alone can sometimes be so peaceful.

But hey, it’s time for turkey dinner so what better way to say grace than to play my old time favorite Kwanza carol, “Santa Claus Is A Black Man.” Here it is, the motherlode of crackpot Xmas carols, the 45rpm record I hunted for my whole life and recently bought on eBay at a great deal of personal expense just so you could hear it too. Yes, Akim, there is a Santa Claus and he’ll always be black in my mind because of your liberating, endearing vocal. Just thinking about this holiday song makes me feel as if I could spontaneously combust.

Have a merry, rotten, scary, sexy, biracial, ludicrous, happy little Christmas.

See you next year.
" - John Waters

  1. "Fat Daddy" - Fat Daddy
  2. "Rudolph The Red Nosed Reindeer" - Tiny Tim
  3. "Christmas Time Is Coming" (A Street Carol) - Stormy Weather
  4. "Happy Birthday Jesus" - Little Cindy
  5. "Here Comes Fatty Claus" - Rudolph & Gang
  6. "Little Mary Christmas" - Roger Christian
  7. "I Wish You A Merry Christmas" - Big Dee Irwin & Little Eva
  8. "Santa Don't Pass Me By" - Jimmy Donley
  9. "Sleigh Ride" - Alvin & The Chipmunks
  10. "Sleigh Bells, Reindeer And Snow"
  11. "First Snowfall" - The Coctails
  12. "Santa Claus Is A Black Man" - AKIM & The Teddy Vann Production Company


Merry Christmas Ya Little Jerks!

Hope everyone has a good Christmas, or Holiday, or what have you. Hopefully by the end of the night I'll have uploaded A John Waters Christmas, one of the best x-mas albums ever, but if not it'll be tomorrow. Toodles for now.

- DD

Sunday, December 21, 2008

Kenneth Higney - Attic Demonstration (1976)

Imagine for a second that Jandek and Simon Finn teamed up with Jad Fair and started a psychedelic free form folky rock 'n' roll band in 1976. It might sound a little bit like this. It's naive but complex, confusing and strange but very beautiful and honest. It has a certain quality to it that I can't quite place, but I like it! Very much! I guess this album has become somewhat of a cult classic among record collectors, and it's pretty easy to see why. It's a very strange album, but I highly recommend it to those interested in outsider music.

"Attic Demonstration is a collection of demos performed by Higney in 1976. A New Jersey truck driver looking to jumpstart a career as a songwriter, Higney pressed the record in order to give it to other musicians, in hopes that they would perform his songs. That no one took him up on his offer is not surprising, since this a relentlessly downbeat, ramshackle collection of music. It’s a compelling and frequently bleak piece of work, but not one with much (or anything at all) in the way of the commercial potential Higney may have hoped for. Imagine Neil Young’s depressive masterwork On the Beach, only replace Neil Young with an untrained singer who vacillates between a haunted, plaintive drawl and a raspy shout, force the musicians to play constantly out of time, drench everything in tortured lead guitar, and deprive the band any second-takes." - Dusted Review

More Info:
Reviews: CD Baby

1. Night Rider
2. Children Of Sound
3. Rock Star
4. Can't Love That Woman
5. Look At The River
6. Quietly Leave Me
7. Let Us Pray
8. I'll Cry Tomorrow
9. No Heavy Trucking
10. Funky Kinky
11. I Wanna Be The King


Peter Jefferies & Jono Lonie - At Swim 2 Birds (1987)

What you have here is some extremely melodic mood work. It's instrumental zone music of the highest grade. At times, the guitar is fairly reminiscent of early Durutti Column, though overall there is a lot more going on here. It almost delves, if only for the slightest of moments, into the Krautrock arena with glorious repetition and rhythm. It's a very beautiful and eclectic album, so full of sound. I especially enjoyed the songs Interalia and Tarentella. Aside from listening to it I don't really know too much about the people involved or anything like that so please just grab, listen, and enjoy!

"Jefferies' first solo effort is actually a full collaboration with fellow New Zealand musician Jono Lonie, titled after the cult surrealist novel by Irish author Flann O'Brien. The album itself is entirely instrumental, and described by Jefferies in the liner notes for the 1997 reissue as being "an antidote of sorts to a previous sound and method of writing," further referring to the recording location at Lonie's house as providing the "ocean, air, light" counterpoint to the often dark and brooding This Kind of Punishment releases. For all this, many hints of Jefferies' TKP work inevitably crop up (as does its overall sonic quality, due in part to also using a TEAC four-track). The most unmistakable connection is his distinct, evocative piano sound, highlighted prominently on songs like (unsurprisingly) "Piano (One)." However, the collaborative nature of the work with Lonie, in the end, does result in distinctly different music all around; when "Piano (One)" really takes off with a restrained but forward-moving keyboard line as Lonie's echoing guitar weaves around the music, it's just one of many moments where things indeed feel much livelier and more brightly beautiful than in the past. Jefferies adds drums at points much as he did in TKP, giving the sprightly drone "Interalia" a rollicking little push where needed and providing the powerful "The Standing Stone" with a pulsing beat under a strong guitar/violin combination. He also plays with tape effects to provide fine twists and turns to the music throughout. Lonie's own work is impeccable; besides providing almost all the guitar, his violin work is equally striking. The title track is one of his finest moments, as his violin melody rises throughout an overlay of reverbed strings that have turned into a weirdly lovely background shading. " - All Music Guide

  1. Introduction
  2. Thief With The Silver
  3. Piano (One)
  4. Interalia
  5. At Swim 2 Birds
  6. Tarentella
  7. Where The Flies Sleep
  8. The Standing Stone
  9. Aerial
  10. Short Was Fast
  11. Piano (Two)

Thanks to La Folie Du Jour for the original upload.

Eric Copeland - Hermaphrodite (2007) + Alien In A Garbage Dump (2008)

I have long been a fan of the New York noise outfit Black Dice. Their unique combination of melodic noise and pop sensibility is undeniably original. They do to "Noise Music" what i've always wanted to do, or have someone do for me. As a result I naturally got very excited last year when Eric Copeland began releasing his solo work.

Hermaphrodite (2007)

Hermaphrodite is probably the best noise album i've ever heard. It's OK if you don't agree with me. This isn't your average noise album. It takes what Black Dice does to "Noise" and amplifies that. It's what you might expect if Justin Timberlake decided to do noise music. By that I mean it's "poppy" as hell. That being said, if you're not a noise fan then you'll want to take that with a grain of salt. This is still Noise by any definition.

As far as I know, Copeland spent a few years tinkering with his first solo effort before finally deciding on these 12 tracks, a euphonic mixture of radio loops, frequencies, various effects pedals, samples, etc. Though this is indeed a noise album, it's an extremely fun and, again, poppy one. It's noise you don't mind bobbing along to. I'll stop this ramble so you can enjoy it for yourself.

"It may be misleading to say that Hermaphrodite, the first solo album by Black Dice's Eric Copeland, is catchier than anything his band has done. After all, it's a noisy, predominantly abstract record. But there's a joyful swing and pleasant ease to Copeland's work here that no Black Dice album has quite caught. Rather that darting around implied destinations, Copeland is happy to settle into grooves, picking simple patterns and letting them blissfully churn away. The result is music that you can actually nod your head to, even when it challenges your grey matter.

Hermaphrodite's accessibility comes not just from its simplicity, but also its playfulness. Through bouncy rhythmic loops, sprightly vocal chants, and child-like melodies, Copeland crafts pieces that feel sunny and breezy even at their roughest. In that sense Hermaphrodite evokes Gang Gang Dance's early séances and Animal Collective's brighter rain dances. But it's even closer to the wide-eyed art loops of the Residents. Copeland captures that seminal outfit's primal beauty on tracks like "Wash Up", with its warped vocals and bubbly synths, and "FKD", with sneaky whines so Residents-like you can practically follow the bouncing eyeball." - Pitchfork review

1. Hermaphrodite
2. La Booly Boo
3. Oreo
4. Green Burrito
5. Wash Up
6. Spacehead
7. Tree Aliens
8. Scum Pipe
9. Dinca
10. Mouth Hole
11. FKD
12. Scraps


Alien In A Garbage Dump (EP) (2008)

So, this too is great. I found it somewhat different from Hermaphrodite, though that could be due to the fact that there was much less time spent on creating this. Still, I can't help but nod along to the rhythms Copeland creates with his mashed samples and vocal loops. Highly recommended listening for anyone remotely interested in Noise.

"Sometimes a song's title can tell you something. Case in point is the title track from the Alien in a Garbage Dump vinyl-only EP by Black Dice member Eric Copeland. As heard on his record last year, Hermaphrodite, Copeland is something of a sonic dumpster diver, finding weird bits of sonic detritus and then slapping them together into collages that can be both creepy and funny. Compared to where Black Dice has been with the last few records, Copeland seems to be in a comparatively maximalist state of mind, never finding any virtual audio tape that he didn't want to saturate with noise. He's also making music that seems to me a touch more pop and easier to latch onto on the first spin. "Alien in a Garbage Dump" begins with huge amounts of clatter and a sampled voice imploring "Just don't do it" in a never-ending loop that could be a cousin to the "Come out to show them" bit used in Steve Reich's "Come Out" all those years ago. It works through myriad small variations to the pulse of a bass hit, and then it comes out on the other side, squinting into the bright light of a for-real tune. Over "La Bamba"/"Like a Rolling Stone" guitar chords, a loose and melodic guitar solo brings things home. Ah, the wonders of contrast; you can find some pretty cool shit in a landfill." - Pitchfork

1. King Tits Womb
2. Alien In A Garbage Dump
3. Corn On The Cob
4. Osni
5. Scones And Bull
6. Reptilian Space Beings Shapeshifting Bloodsucking Vampires
7. Everybody's Libido


Friday, December 19, 2008

Synecdoche, New York (2008)

So apparently i'm out of the loop. I'm so out of the loop. I'm embarrassingly and shamefully out of the loop. I'm so far out of the loop it's scary. It may not be for you, but for me it's terrifying. You see, I somehow have managed to go until two days ago without knowing about this new film thats coming out. Finally, at long last, my hero, my god, the love of my life, the intencely brilliant Charlie Kaufman has directed his first picture. When it comes to writing a story that just destroys everything you've come to expect in a story, there's no one better than Kaufman. I didnt know he was even writing a new film, let alone that he was done it, and he was directing it himself. I am, to say the very least, so fucking excited I could cry. NOT ONLY THAT! but it stars my favorte actor as well. The always depressingly great, Philip Seymour Hoffman.

The film, as far as I've picked up so far, is about Caden Cotard (Hoffman), a theatre director, who builds a lifesized replica of New York city, and fills it with actors to play himself and the people he knows in an attempt to dicover something about himsef that might satisfy his insecurities with life (??). I think? Now, within this life sized recreation of New York city there is of course another life sized recreation of New York, and within that recreation, OF COURSE, there is yet another life sized recreation of New York, and so on and so on and so on and so on. All of these filled with actors, playing the parts of Cotard and his friends/family. God I love you Charlie Kaufman. Anyways, i'll stop drooling now. Thought I'd let you know in case yr as behind as I.


Monday, December 15, 2008

Holiday Rush

OK, so I'm traveling around home for the Holidays, and I haven't really had a chance to upload anything, nor do I have a very solid internet connection, but I'll have lots of new stuff in the coming weeks, so please be patient. Sorry for taking so long to update.

- DD

Sunday, December 7, 2008

The Brothers Quay - Rehearsals For Extinct Anatomies (1988)

Another brilliant stop-motion short, by The Brothers Quay.

Jan Švankmajer - Picnic With Weismann (1968)

Well I guess today is movie day on BT. This is one of my favorite pieces by one of the pioneers of stop-motion animation, Czech filmmaker and artist Jan Švankmajer. If yr not familiar w/ his work then you need to look into it. Enjoy!

more info:

Fallen Art

Sonic Youth + Aphex Twin (Dance Party!)

Duncan Browne - Give Me Take You (1968)

Some hippy psych-folk goodness for a quiet sunday afternoon. I was just listening to some Lee Hazelwood and it mellowed me out big time. I decided to listen to Duncan Browne's debut release Give Me Take You, an occassion not too frequent in my day to day. What a nice album. It's so peaceful and good. Browne's voice hangs slightly on a cross between Paul McCartney, Nick Drake and a bit of Dr. Strangely Strange frontman and founder Tim Booth. There's also a hint of John Cale in there somewhere. I highly recommend this to anyone who enjoys beautiful folk. Very similar musically to Donovan, Bill Fay, or Dr. Strangely Strange, though not quite as eccentric as the latter. Just get it if you like nice mellow acoustic guitar songs.
The End.

"Duncan Browne's melancholy first album, Give Me Take You -- released on music impresario Andrew Loog Oldham's Immediate label in 1968 -- is one wonderfully tender album. Many who only discovered it well after its original release are compare its dulcet introspective tone to Nick Drake's albums. It does fall into a similar English folk vein, though Browne's arrangements are, on the whole, more Baroque, giving the album a semi-classical, regal feel. Browne charted his own classical arrangements and wrote out vocal charts for a choir, but turned to his art school friend David Bretton for song lyrics. It's Bretton's lovely Pre-Raphaelite style phrases, used here in the guise of lyrical content, that fans of this album often react strongly to, one way or another. True, there's a youthful innocence and melancholy that comes off as somewhat naïve sounding, mawkish, and awkward in our modern age -- "Better a tear of truth than smiling lies" is one example -- but this is a minor quibble. Immediate issued only one single from the album, "On the Bombsite," but it failed to connect with listeners. At the time of its release, Oldham's Immediate was reportedly falling apart. He was in financial ruin and reportedly cut the sessions short to save money. The album remained out of print until 2000, when it was issued for the first time on compact disc by the U.K.-based Castle imprint, this time with five bonus tracks dating from Browne's early-'70s sessions when he was recording for the Bell label." -

Ninepence Worth Of Walking

1. Give Me Take You
2. Ninepence Worth Of Walking
3. Dwarf In A Tree (A Cautionary Tale)
4. Ghost Walks
5. Waking You
6. Chloe In The Garden
7. Waking You
8. On The Bombsite
9. I Was You Weren't
10. Gabilan
11. Alfred Bell
12. Death Of Neil


Sun City Girls - Djinn Funnel (2006) (LP)

Sun City Girls
are one of those bands where you never know what to expect. They're probably the band you can always rely on being surprised by. Every album I've ever heard has been totally different from the last. They're jazz, they're rock and roll, they're lo-fi garage punk, they're acid freak-out tribal blues, they're indian wedding destruction, they're folk fodder farfiza funk. They're also really great! This album is my favorite of what I've heard. It's very aggressive and raw, sometimes sounding a lot like Old Time Relijun or something. Lot's of cool guitar licks, and brutal drum drones, and a few great vocal waves that just put you in a trance! The guitar just squeals on into waves of euphoria until you forget that you're even listening to it. My favorite song is definitely the albums opener, Nites of Malta. It makes me want to cream on the walls with blood semen and smash my face into nails and screws. Enjoy this gem, or die a wasted soul.
(This is an LP rip, limited pressing of 570 copies)

"There's five tracks on "Djinn Funnel", recorded between 1999 and 2001, and they're the Girls like I've never been familiar with em before. I don't profess to know nearly the amount of SCG material as I'm sure many out there do but this one stumped me hard, if we were Invisible Jukeboxing I'd have been as out of my element as Marianne Faithful trying to nail down an MF Doom b-side. All these five are Sun City Girls playing the blues, playing the heavy electric blooz psych rock blues that is. "Nites of Malta" opens the set with a funky, swishing drumline and stoned, radio-ed nasal voice drip, with an absolutely searing Rick Bishop solo what kinda brings to mind Michio Kurihara shredding things on the record he did with Boris...'cept with the Eastern hookah haze the Girls often tread in. It ends with an explosive, thrashing chorus of screaming feedback (and screaming voices) and somehow the LP keeps getting better from there. If "Djinn Funnel" is the band's "Paranoid" - heavy, stoned and blues-informed - then "Dukun Degeneration" is its "Planet Caravan" with the echo of Ozzy's vocals replaced with noise distortion from Rick's guitar as Alan's struggles to keep things above water with melting, gelatinous bass fuzz. But it's Rick again who steers the songs up to and over the brink with more destructive, almost metal moves on "Dark Nectar", while he shears up in almost Mizutani-like fashion with another Eastern bent on "Red Sea Blues", an even closer comparison would be Acid Mothers Temple and the Eastern-influenced psychedelics they dredge up from time to time. The best is saved for last on the 12-minute epic finale "Grand Trunk (Drifters of the Grand Trunk)". Moving at a meditative pace and operating off of a rhythm section composed of Gocher's cyclical cymbal shots and Alan's gently loping, looping bass rhythm, the Girls hit a sound not at all unlike what OM put together on "Conference of the Birds" with a bit more in the way of subtly pushed, acid-washed guitar licks and airy vocals. Other reference points coult be Quicksilver Messenger Service or the Grateful Dead. And yeah the Sun City Girls playing in line with classic 70's psych sounds every bit as good as you'd hope."
- OuterSpaceGamelan

The albums sounds nothing like this.

1. Nites of Malta
2. Dukun Degeneration
3. Dark Nectar
4. Red Sea Blues
5. Grand Trunk (Drifters of the Grand Trunk)


Dean Ween shows us his "Sunday Sauce"

Dean Ween shares his recipe for a Sunday Sauce. This looks and sounds so delicious! I am definitely going to try to make it someday! Enjoy.

The Sunday Sauce

Saturday, December 6, 2008

Ween - Axis: Bold As Boognish (1987) (Cass.)

Depending on when Mrs. Slack came out, this would be Ween's second release. There's isn't much known about the album, and the label it was released on is long dead. The album is kinda strange, for Ween. It's very raunchy old school punk type music, with the trademark silly lyrics, and lots of noisy feedback. At times it's reminiscent of Dead Milkmen or something of that ilk, but overall it's a lot noisier. You can tell they were 17 when they made this. It's very aggressive and full of hyperactivity. I Love it! I had never heard Ween like this and it's great! Released on cassette tape.

More Info:

  1. "I'm Killing It (Kill Everything)"
  2. "Tweet Tweet"
  3. "On The Beach"
  4. "I Like You"
  5. "Bumblebee"
  6. "Emily"
  7. "David The Negro"
  8. "The Iron Whore"
  9. "Sittin' On My Ass (Wanton Nougat)"
  10. "Smoke In My Brain"
  11. "Anne"
  12. "Aqua-Ween"
  13. "She Said, She Said"
  14. "The Journey Into Dinh"
  15. "Gene's Lament (Tree Love Theme)"
  16. "Opus 51 Fugue Trilogy In A (Take Me To The Tree) - a. Yurtle Swimming/b. The Tree/c. Bertha Gets The Mooshy Mooshy/d. The Kitty And The Squirrel/e. The Departure"
  17. "One Love For Boognish"

(Thanks to Bruunski Beats for the original upload)

Friday, December 5, 2008

Hanatarash - The Hanatarash & his eYe (1992)

TOTAL DEATH ENTERTAINMENT CURMUDGEON! that's one way of putting it. Hanatarash is Eye (pre-Boredoms) and Mitsuru Tabata, and it's total noise war chaos. They were banned from every club they played due to their intencely violent and dangerous live shows, in which Eye would basically set up and destroy "things" including large drum barrels, sheets of glass, various metals, etc. Get this and explode.

"Hanatarashi (ハナタラシ), meaning "sniveler" or "snot-nosed" in Japanese, was a noise band created by later Boredoms frontman Yamantaka Eye and featured Zeni Geva guitarist Mitsuru Tabata. The outfit was formed in Osaka, Japan in 1984 after Eye and Tabata met as stage hands at an Einstürzende Neubauten show. After the release of the first album, the "I" was dropped and the name became Hanatarash. They used a variety of unusual noise-making objects, including power tools, drills, and heavy machinery.

Hanatarash was notorious for its dangerous live shows. Some of the band's most infamous shows included Eye cutting a dead cat in half with a machete, strapping a circular saw to his back and almost cutting his leg off, and destroying part of a venue with a backhoe bulldozer by driving it through the back wall and onto the stage.

At a 1985 show in Tokyo's Superloft, the audience was required to fill out waivers due to the possibility of harm caused by the show. The show was stopped due to Eye preparing to throw a lit molotov cocktail onto the stage. The performance cost ¥600,000 (approximately $6,000 US) in repairs.

After several years of the intense live shows, Hanatarash was forbidden from performing at most venues, and were only allowed to return to live performances in the 1990s without the trademark danger." -

Live (1988)

Live at Bears, Osaka Japan

1. Bom Bom Rider
2. Acid Surfin Nazimetal
3. Audio Gunshot--One
4. Pointless Brosers
5. Suicidal Budda
6. Audio Gunshot--Two


Blurt - BBC Session (09/24/80)

I have no album art for this one, sorry. If you've never heard Blurt, think James Chance meets The Pop Group meets The Birthday Party? Maybe even a bit of Faust-ish Krautrock thrown in for kicks? I know, i know, that sounds WAAAY too good to be true, and maybe it is. It probably is. Blurt isn't the best band to ever exist. BUT, they're certainly really really REALLY great and well worth listening to. So fucking groovy and cool. So get this and rock and roll a little. Its good time chir out duude. WAKKID DOOD. the end.

"Blurt are a musical group founded by poet, saxophonist and puppeteer Ted Milton in 1979 in Stroud, Gloucestershire. Ted Milton's brother Jake Milton, formerly in psychedelic group Quintessence, on drums and Peter Creese on guitar. After three albums Creese left the band to be replaced by Herman(Nep'n' Bend)Martin on synthesizers who after a year of constant touring left the band and was replaced by Steve Eagles, former member of Satans Rats, The Photos and Bang Bang Machine. Shortly thereafter brother Jake left to be replaced by Paul Wigens, with a short interim on drums by Nic Murcott. Eagles was replaced by Chris Vine as guitarist from 1990 to 1994. The latest drummer in the band is Bob Leith, also on drums in Cardiacs.

Blurt's compositions are based around repetitive minimalistic guitar and/or saxophone phrases with relentless, machine-like drum beats, over which Ted Milton orates his lyrics in a variety of "voices"."

Cherry Blossom Polish (Live in Stollwerk, 1982)

1. Cherry Blossom Polish
2. Paranoid Blues
3. Some Come
4. Ubu


Sunday, November 30, 2008

John Bender - Plaster Falling (1981) (LP)

There isn't a ton of info out there on John Bender, so I apologize. This album is two tracks (Neither Side, and Nor Side [Side A & B of the LP]), with each track containing several songs. It's incredible lo-fi minimalist electronic groove. Reminiscent at times of a darker Bruce Haack (Haackula era more then anything), this album is super fuzzed out and surreal electronic goodness. Bender has a voice unlike any other. If you've never heard it, then get it. You'll thank me. I'm gonna upload some more Bender in the near future.

"From Tapes 34 to 45, 1979-81. The album sleeve is covered in white plaster and you have to cut the sleeve open to get the record out. First edition with artist name, title and label hand written in plaster. Second edition with sprayed title and catalog no. on front and printed tracklist and album information on the back side." -

Released on Record Sluts (RS 003)
More Info: John Bender Fan Page

A1 Station
A2 Plaster
A3 Women
A4 People

B1 Something
B2 Records
B3 Knuckles
B4 Cities
B5 Street


(Thanks to the always incredible MUTANT SOUNDS for the original upload!)

Thursday, November 27, 2008

Pere Ubu - The Modern Dance (1977)

Definitely my favorite of any Pere Ubu I've heard. It's complete rock and roll madness! This is their debut release (Blank Records) and you should get it! I particularily enjoyed Laughing, as well as Chinese Radiation. I'll probably write more later when im not so anxious.

"There isn't a Pere Ubu recording you can imagine living without. The Modern Dance remains the essential Ubu purchase (as does the follow-up, Dub Housing). For sure, Mercury had no idea what they had on their hands when they released this as part of their punk rock offshoot label Blank, but it remains a classic slice of art-punk. It announces itself quite boldly: the first sound you hear is a painfully high-pitched whine of feedback, but then Tom Herman's postmodern Chuck Berry riffing kicks off the brilliant "Non-Alignment Pact," and you soon realize that this is punk rock unlike any you've ever heard. David Thomas' caterwauling is funny and moving, Scott Krauss (drums) and Tony Maimone (bass) are one of the great unheralded rhythm sections in all of rock, and the "difficult" tracks like "Street Waves," "Chinese Radiation," and the terrifying "Humor Me" are revelatory, and way ahead of their time. The Modern Dance is the signature sound of the avant-garage: art rock, punk rock, and garage rock mixing together joyously and fearlessly. " -

The Modern Dance

  1. "Non-Alignment Pact" – 3:18
  2. "The Modern Dance" – 3:28
  3. "Laughing" – 4:35
  4. "Street Waves" – 3:04
  5. "Chinese Radiation" – 3:27

  1. "Life Stinks" (Peter Laughner) – 1:52
  2. "Real World" – 3:59
  3. "Over My Head" – 3:48
  4. "Sentimental Journey" – 6:05
  5. "Humor Me" – 2:44

(thanks to HONG KONG GARDEN for the original upload)

Wednesday, November 26, 2008

Mount Eerie - Lost Wisdom (2008) (w/ Julie Doiron & Fred Squire)

Finally. Finally Phil Elvrum & Julie Doiron have come together. At Long Last. Finally! I personally really liked this album. Some don't. But if yr a fan of either I'd get it and decide for yourself. It's funny to hear the two styles combine. They're both so different but so similar. I've always loved Eric's Trip, and enjoy Doiron's solo stuff. And Phil? Everything Phil Elvrum does is golden beauty. He's a musical saint. I love him like a baby loves paddy cake. So get this, and listen to it, and figure out where your place in the world is. Totally Beautiful.
(all songs written by Phil Elvrum)

"At a glance, a Phil Elverum/Julie Doiron meet-up seems entirely apt, perhaps even inevitable. The two share collaborators, hail from sleepy corners of their respective countries, and make music a or Pandora bot would more than likely peg as "similar." Viewed a certain way, however, the two couldn't be more far afield. Elverum, as a songwriter, has long occupied himself with The Big Questions, his catalog full of probing meditations on birth and death, the elements, and the unknown. Doiron, conversely, has consistently stuck to the simple and domestic, quietly reveling in the tangible and everyday. Songs such as "Snowfalls in November" are patiently observed odes to satisfaction and serenity in the absolute. In short, Doiron is the contented period to Elverum's searching question mark." - Pitchfork (8.3)

More Info: Wikipedia

Helm Gallery, Tacoma WA (4/18/08)

  1. "Lost Wisdom" – 4:14
  2. "Voice in Headphones" – 2:16
  3. "You Swan, Go On" – 1:25
  4. "Who?" – 2:24
  5. "Flaming Home" – 2:29
  6. "What?" – 2:06
  7. "If We Knew…" – 1:37
  8. "With My Hands Out" – 1:39
  9. "O My Heart" – 3:17
  10. "Grave Robbers" – 1:47

Tuesday, November 25, 2008

Smegma - Smell The Remains (1988)

If you've never heard Smegma before, it's like if eggs were boiling on your brain as you watched a three stooges marathon in fastforward and drank sixteen gallons of grape kool-aid, spiked with a 60 of Gibsons Finest. Yes, it's that good. The only members of the LAFMS still around. Totally cool noise/rock from way bacck. This album is a little more recent, but not too. It's just as delicious as anything else, with a great mix of total noise chaos, free form screetch, garage rock, ambient moans, and tape collages. At times somewhat reminiscent of The Plastic People Of The Universe, or something of that ilk. I highly reccomend it to anyone interested in anything spastic. Enjoy it, or be foolish.

"Smegma is an American experimental noise group formed in Pasadena, California in 1973 and currently based in Portland, Oregon. Originally part of the Los Angeles Free Music Society (LAFMS) movement of the 1970s, Smegma is one of the few music collectives of that era still active today." - Wikipedia



1. Potato War
2. Forest Fire In Your Left Elbow
3. One Moment
4. Credo Quia Absurdum Est
5. Hot Beeshead Hit The Wax
6. Pigface Chant
7. Roll Down Your Window
8. Beauty School


Ween - Pure Guava (1992)

At Long Last! It is here! Get it now! If this album doesn't change your life then I don't know what will. Fuck Offf.

"Pure Guava is Ween's third studio album, and the first to be released on a major label. Originally released in 1992 through Elektra Records, it features what is perhaps Ween's most well-known song, "Push th' Little Daisies." "Push th' Little Daisies" was released as a single on August Records in 1993, including both the Album and Radio Edit versions of the song (the latter replacing the word "shit" with a sample of Prince squealing) and the tracks "Ode to Rene," "I Smoke Some Grass (Really Really High)" and "Mango Woman."

Many of the songs on this album come from two tapes that the band made for friends, the first being titled "Springtape", and the second titled "The Caprice Classic Tape", as stated by Dean Ween on JJJ radio in 1993. Pure Guava marked the last time the group would record on a four-track until 2007's La Cucaracha." - Wikipedia

"Reggaejunkiejew" LIVE at The Wetlands in New York (1991)
(Dean, Gene, & a tape player)


  1. "Little Birdy" – 3:30
  2. "Tender Situation" – 3:40
  3. "The Stallion (pt. 3)" – 3:30
  4. "Big Jilm" – 2:10
  5. "Push th' Little Daisies" – 2:48
  6. "The Goin' Gets Tough from the Getgo" – 2:08
  7. "Reggaejunkiejew" – 4:51
  8. "I Play It Off Legit" – 3:20
  9. "Pumpin' 4 the Man" – 1:30
  10. "Sarah" – 2:09
  11. "Springtheme" – 3:00
  12. "Flies on My Dick" – 3:26
  13. "I Saw Gener Cryin' in His Sleep" – 1:48
  14. "Touch My Tooter" – 2:23
  15. "Mourning Glory" – 5:14
  16. "Loving U Thru It All" – 2:28
  17. "Hey Fat Boy (Asshole)" – 1:53
  18. "Don't Get 2 Close (2 My Fantasy)" – 3:23
  19. "Poop Ship Destroyer" – 2:16

Ween - Chocolate & Cheese (1994)

Well, it's Ween time. Gene & Dean Ween (Aaron Freeman and Mickey Melchiondo) are always great, and this is no exception. For some reason i've managed to, despite loving Ween for many years now, go until about a week ago without ever hearing this album. I remember hearing it was bad when it first came out, and at the time I was quite impressionable. Ween is one of those bands that I've always had a soft spot for. I was in grade 9 the first time I heard them, it was the video for Push Th' Little Daisies, and I was instantly impressed. Shortly after that I was given a tape by a friend. Side A: Eric's Trip (Peter/Love Tara), Side B: Ween (Pure Guava). I fell completely in love with Pure Guava and didn't stop listening to it for months. I've loved Ween ever since. Now, I have Chocolate & Cheese and I've spent about a week listening to it. It's incredible. Get it and listen to it a lot! Sometimes cheesy, sometimes hard, sometimes beautiful, always silly, always totally believable (somehow). It's 100% Ween, dig?

"Chocolate and Cheese was Ween's fourth studio album, originally released by Elektra Records in 1994. It was the first Ween album to eschew the four-track recordings of their first three albums and utilize a professional recording studio. However, most of the instruments were still played by Dean and Gene Ween, including their drum machine.

The album is dedicated to comedian John Candy, who died while Ween was putting the album together. "A Tear for Eddie" was dedicated to the funk/psychedelic guitar pioneer Eddie Hazel, who died December 23, 1992. Ween originally wanted the cover to have a "gay sailor theme" but the studio thought it politically incorrect (possibly because of the "HIV Song" which is ironically cheery and upbeat), so they opted for the woman's body on the cover."

- Wikipedia

The "official" music video for Freedom of '76


  1. "Take Me Away" - 3:01
  2. "Spinal Meningitis (Got Me Down)" - 2:53
  3. "Freedom of '76" - 2:51
  4. "I Can't Put My Finger on It" - 2:48
  5. "A Tear for Eddie" - 4:50
  6. "Roses are Free" - 4:35
  7. "Baby Bitch" - 3:04
  8. "Mister Would You Please Help My Pony?" - 2:55
  9. "Drifter in the Dark" - 2:32
  10. "Voodoo Lady" - 3:48
  11. "Joppa Road" - 3:03
  12. "Candi" - 4:03
  13. "Buenas Tardes Amigo" - 7:07
  14. "The H.I.V. Song" - 2:10
  15. "What Deaner Was Talkin' About" - 2:00
  16. "Don't Shit Where You Eat" - 3:20

Sunday, November 23, 2008

Ween - "Freedom Of '76" Live on the Jane Pratt Show (1993)

This is just a cool video of the always enjoyable"Ween". The song "Freedom of '76" is from their fourth studio album, "Chocolate & Cheese", released in 1994. Enjoy!

"This is one of my favorite tv clips of us. "Pure guava" was still a new record and we had just written this song. I think this is one of our last performances as a duo. This was filmed early in the morning and we were very stoned." - Gene or Dean Ween. Not sure who.

Saturday, November 22, 2008

Phil Morton - Colorful Colorado (1974)

This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".

Producer/Director: Phil Morton

More information about the Sandin Analogue Image Processor can be found on EVL's website -

Friday, November 21, 2008

Beach House - Beach House (2006)

Well. This is probably one of the better albums you'll ever hear to come out of 2006. Perhaps an over-statement for some, but i think if at first you don't hear it eventually you will. Otherwise, yr probably just not listening hard enough and should head south for broader plains & valleys of plenty, they're just over the horizon there. If you do hear it, at first or fifteenth, then good. That means we're on the same page, and I can enjoy that. You can sit in my chair. We can both build houses to sleep in. Mellow, raw. Soft, angry. Beautiful, broken. Hahaha Oh yes I did say that. What corn. What utter corn. Please Mister, I beg of you! Stop this hackneyed garble at once! OK then, I will! Beach House is like Mazzy Star and Black Flag colliding (??).

I say Black Flag not to indicate any amount of speed or volume (this is music to sleep to, or bathe to) but because there is a similar edge to them that I lend to Beach House as well. I don't really know how to explain it for you. Listen to this while you look out a window and hope for love & death! It's fucking haunting, and I really like it. Gobble Gooble Booble Dobble! Get down on yr knees and tell me you love me you mother fuckers!

"Baltimore's Beach House are singer/organist Victoria Legrand and guitarist Alex Scally. Because they come from such a well-defined tradition-- the boy-girl duo making lovesick, narcotized rock with lots of depth and sweep-- it's pretty much impossible to listen to this, their debut, without making certain connections. Bands like Mazzy Star, Galaxie 500, Spiritualized, and Slowdive will come to mind, but this is neither pastiche nor homage. While a lot of their sounds and shapes are the same, Beach House's recipe of fairground waltzes, ghosted lullabies, and woodland hymnals feels more intimate than those of their forerunners. The Hope Sandovals and Jason Pierces of the world mostly wanted to make their songs bigger than their heartaches, to rub out messiness with beauty; Beach House play their songs for a much smaller room, and aren't afraid to stare down a mistake if it comes bounding back in echoes." - Pitchfork Review (8.1)

Apple Orchard (Live @ the Hi-Dive in Denver, CO "22/03/08 ")

  1. "Saltwater" – 2:55
  2. "Tokyo Witch" – 3:42
  3. "Apple Orchard" – 4:31
  4. "Master of None" – 3:19
  5. "Auburn and Ivory" – 4:30
  6. "Childhood" – 3:35
  7. "Lovelier Girl" – 3:02
  8. "House on the Hill" 3:14
  9. "Heart and Lungs" – 7:50

Monday, November 17, 2008

Chet Baker - Stella By Starlight (1964)

Unfortunately, I can't find a large version of the cover art for this, but the above picture does quite nicely. Well, this album is delicious. I became a fan of Chet Baker through reading up on Vincent Gallo (who's music often takes second best, however inaccurately, to his film career). Whatever I was reading at the time compared Gallow's voice to one Chet Baker. & so it began. I soon realized that I already knew a lot of Baker's stuff, and yadda yadda blah blahh. So this album doesn't have any of Chet's "fucking awesome" voice, but what it lacks vocally it more then makes up with in brass. This is pure mellow freak out. Cool jazz, doing what it does baby. Easy breazy, lemon fresh, dig on them silky bones and smooth wail you jive mother!

"Chesney Henry "Chet" Baker Jr. was an American jazz trumpeter and singer.

Specializing in relaxed, even melancholy music, Baker rose to prominence as a leading name in cool jazz in the 1950s. Baker's good looks and smoldering, intimate singing voice established him as a promising name in pop music as well. But his success was badly hampered by drug addiction, particularly in the 1960s, when he was imprisoned.

He mounted a successful comeback in the '70s, but died in 1988 after falling from a hotel window." - Wikipedia


1. My Funny Valentine (Instrumental)

2. Stella By Starlight

3. Short Bridge

4. Serpent's Tooth

5. Theme For Freddy

6. When Will The Blues Leave

7. In Your Own Sweet Way


Friday, November 14, 2008

Jandek - Lost Cause (1992)

Uhh... this record is great.

"Lost Cause dropped in 1992 to a cult of followers still trying to figure out just who this "mystery man" was. After seven fairly uniform acoustic albums (which had little "uniformity" to any sort of standard acoustic songs), the last fourteen albums had been all over the spectrum, from the crazed garage rock of Telegraph Melts to the acoustic heartbreak of Blue Corpse to the bluesy lounge rock of the Living End. Sometimes there were female vocals, or a male vocalist who obviously wasn't the original performer. What it all added up to by this point was hard to say.

It's not a stretch to say that Lost Cause attempts to sum up, then encore, the artist's career up to this point. It begins with a loungey voice and electric piece called "Green and Yellow" that reflects much of what was on the last album, One Foot in the North. That leads to a pop song that could come off one of the early 70's Beach Boys albums - "Babe I Love You" is straight pop for the summer, including what sounds like a pump organ providing the pedal points and gorgeously played acoustic guitar (by someone, it seems safe to say, other than the Corwood Representative). The lyrics almost seem of a piece with the pop until you listen closer and catch phrases like "Look outside/genitals/baby I love you/’cause I’m fast."

The next three tracks continue this folky aspect, with "Cellar" being another ode to the "Randy" who died in "Alehouse Blues" (some of those lyrics are repeated, and expanded on), while "How Many Places" and "Crack a Smile" threaten to fade away into the overmodulated whispers (just listen, if you wonder what that means) of the microphone.

Then another switch. Gone is the "standard" guitar and in comes the slow pick familiar to listeners of the early acoustic albums. "God Came Between Us," in fact, is the most VIOLENT song Jandek's had in a while, as far as vocal delivery goes. This leads to another despairing, oddly tuned acoustic blues which praises - quite sincerely - Jesus "coming in the morning," before the original first side was out.

The nineteen minutes and thirty nine seconds of "The Electric End" are both an endurance test and a guitarist's dream. The song employs two guitars (both playing fairly standard phrases), some off-rhythm (but INTENSE) drums, an occasional scream (at one point the artist screams "when is this gonna end" like he was about to fly to pieces), what sounds like a maraca and, layers of squealing feedback, the kind you get when you hold a guitar pick-up over a microphone. It blasts along until everybody seems to pass out and the song abruptly ends. Many assumed (again) that this may be the last Jandek album, and in some senses it is. From here the bands would disappear until the first live gig of October of 2004 (released as Glasgow Sunday, while the plethora of releases between this one and the "live era" find Jandek exploring a surprisingly wide amount of styles (and instruments, or lack thereof), but almost entirely going it alone."

- Wikipedia

  1. Green and Yellow – 4:10
  2. Babe I Love You – 4:13
  3. Cellar – 1:48
  4. How Many Places – 3:03
  5. Crack a Smile – 3:09
  6. God Came Between Us – 3:33
  7. I Love You Now it's True – 2:59
  8. The Electric End – 19:39

The Corners - Complete Discography (2005-2006)

So, I used to be in a band called The Corners with Dan Miller, now of Omon Ra. It's lo-fi folky type stuff, somewhat comparable (perhaps far too idealistically) to Little Wings or to a lesser extent The Microphones. Though it's not quite either of those bands really. Sorry. Anyways, some people really seem to like it. So enjoy!

Lionly Coward (2005)

1. Peking Opera Blues
2. Found
3. Cold Hands, Warm Feet
4. Oh, Dear
5. Wool
6. Faces In My Walls
7. Shady Maple
8. 1952
9. Redbird
10. Theatre
11. Shakes
12. Napoleon
13. Smiles
14. Sing Me Home
15. We'll Watch Ourselves Die
16. We'll All Die Young

+ Friends (2006)

1. Other Side
2. Thinks Out Loud
3. 'Cross The River
4. Something About A Place
5. Sleeves
6. Lullabye
7. The Cold Blew In
8. I Don't Have The Might
9. The Town
10. Visions Of A Hotel
11. Silly Love (Daniel Johnston)
12. Day Song
13. Pastures Of Plenty (Woody Guthrie)
14. Compressed Air
15. Pickalilly
16. Other Side Pt. 2

Hallelujah Boom (2006)
1. The Storm
2. Birdy
3. Border Cross Waltz
4. Sunshine & Smiles
5. Please
6. Fire
7. A Man Meets His Doom
8. Afternoon
9. Come My Love
10. Lu Lee Aye O
11. Somwhere
12. Fort William
13. I Don't Have The Might
14. Oh, Gulley
15. Applestone

I've also included three live sets from the same period. One of which featuring Brooke Manning, of Owl Eyes.


DNA - A Taste Of DNA (1980)

Well, as sort of a pairing with the Rosa Yemen EP I was asked to upload some DNA. So here it is. A Taste of DNA is their ten minute debut album, and one of the very few DNA recordings available. Part of the short lived New York No Wave scene, DNA had a few songs released on compilations here and there, but they're extremely limited. I've heard Arto Lindsay being quoted as saying he (and i'm probably paraphrasing) "never wanted to have an actual chord played in any of [his] songs". Instead he seems to simply play rhythmic patterns by slapping, smashing, twisting, and pounding his guitar. Sounds good to me. Though not remotely alike musically, I can't help but draw similarities between the voice of Arto Lindsay and Mark Mothersbaugh (of Devo fame), though Arto is definitely more chaotic and fierce. DNA's music sounds like stiff contorted jerks, and wails, spilling out randomly, and with great intensity. Anyways, this album is fantastic, and far too short! so get it and listen to it three times!

A clip of DNA playing "Blonde Red Head" from the film "Downtown 81", with Jean-Michel Basquiat.

1. New Fast
2. 530
3. Blonde Red Head
4. 32123
5. New New
6. Lying On The Sofa Of Life


Thursday, November 13, 2008

Wasted Widow - Skeleton Rabies (2008)

I bumped into these guys on myspace last week. There are a series of Montreal based bands who are all related, through Hobo Cult Records, and they're all pretty great. But this album in particular I really enjoyed. Don't know what to compare it to really. It's droney at times, it's noisy at times, it's abstract goodness, lo-fi insanity at it's finest. It's like haunting circus music, a busted radio, and a choir of alien pods, all being orchestrated and played by a possessed heroin junkie in an empty warehouse, deep below the earth surface! Don't you fucking hate bullshit hodgepodge art-fuck descriptions like that?! Me Too! So just get it! cuz it's good! And also, visit their Myspace!

1) Adroxxylon
2) Widow Funk
3) Blizzard Wizard
4) Cobarde
5) Glotd
6) Oobloo
7) Deprodiac
8) Parayso


Thanks to HOBO CULT RECORDS for the link.

Rosa Yemen - Rosa Yemen (EP) (1978)

Released on ZE Records in 1978, this is Lizzy Mercier Descloux's first band. As far as I know this EP is the only Rosa Yemen release, before Descloux moved on to a solo career. This album is fantastic! So energetic and spastic! Comparable somewhat, if only aesthetically, to DNA, or Mars. I like this a lot more then her solo stuff, or what ive heard of it. It's much more aggressive. more info:

"Lizzy Mercier Descloux was a pioneering force in avant-garde rock and in the worldbeat genre, chalking up significant achievements in the latter field well before it existed. Tremendously precocious in an artistic sense, Mercier Descloux dropped out of art studies in order to co-manage a punk boutique and record store in Paris with future ZE Records executive Michel Esteban. In 1975 Mercier Descloux first visited New York City and fell right in with the no wave scene, becoming close friends with Richard Hell and Patti Smith, both of whom contributed material to her first book, Desiderata. Mercier Descloux recorded her first ZE Records release in 1978 as Rosa Yemen, a low-key no wave-styled effort that reflects the influence of the no wave band Mars. Little about Rosa Yemen indicated the genius that would soon carry Mercier Descloux through an unparalleled string of four innovative masterpieces to come."

This is Descloux's solo stuff, NOT Rosa Yemen.


1. Rosa Vertov

2. Decryptated

3. Herpes Simplex

4. Larousse Baron Bic

5. Tso Xin Yu Xin

6. Nina Con un Tercer Ojo


Arthur Russell - World Of Echo (1986)

I just got this the other day and was blown away. I'd never really heard Arthur Russell before but I was sent a link to THIS, a trailer for a documentary on Russell. It looked quite good, and the music sounded great so I started with this, World Of Echo. It's got things in common, vocally, with Dirty Projectors, Karl Blau, and My Morning Jacket, but musically I dont really know what to compare it to. This is NOT one of his dance albums, it's very dreamy and soft. It's just a great record! Here's some more info:

"Charles Arthur Russell Jr. (1952 – 1992) was an American cellist, composer, singer, and disco artist. While he found the most success in dance music, Russell's career bridged New York's downtown, rock, and dance music scenes; his collaborators ranged from Philip Glass to David Byrne to Nicky Siano. Relatively unknown during his lifetime, a series of reissues and compilations have raised his profile in the 2000s." - Wikipedia

Teaser Trailer for "Wild Combination"

Review from Pitchfork:

1. Tone Bone Kone
2. Soon-To-Be Innocent Fun/Let's See
3. Answers Me
4. Being It
5. Place I Know/Kid Like You
6. She's The Star/I Take This Time
7. Tree House
8. See-Through
9. Hiding Your Present From You
10. Wax The Van
11. All-Boy All-Girl
12. Lucky Cloud
13. Tower Of Meaning/Rabbit's Ear/Home Away From Home
14. Let's Go Swimming
15. The Name Of The Next Song (previously unreleased)
16. Happy Ending (previously unreleased)
17. Canvas Home (previously unreleased)
18. Our Last Night Together (previously unreleased)