Bon - la playlist de Boubi / octobre 2016

This project was something special and I loved every minute of working on it. I wanted this album to show its full potential by sequencing all of the songs together and make it sound as a whole, like a big medley. And it turned out great, as it should considering the whole album is a masterpiece.

 I even worked on the cover art a bit, found the high quality photo from the channel Stereo Music (https://www.youtube.com/c/StereoMusic...), gave it some color, added the "full dimensional sound" logo, changed the letters to spell out CHiLD, like SMiLE and I think it looks better, and also I found a back cover with the track listing and "Brians Back!" written on I'm guessing literally Brian's back. I fixed that up and added my own track listing. I don't know if it's a legit picture of Brian since it was clearly from a bootleg, but I think it looks like him and I love how it looks. It works well with the humor within Brian's work and its just perfect, Brian's front in front, his back in the back, cracks me up thinking about it.

In my mind if this was released this way, I would imagine a timeline where Mike and maybe Al would finally back off and say "Okay Brian, you can have your way with your "big band and synth mumbo jumbo" on this album. We did this to you once and look how that turned out. Let's just get it over with shall we?" (Some people just never learn do they?)

 The other thing is I would imagine the record company (I'm not sure if its Brother Records or Reprise Records so I put both of their logos on seperate sides) doubling down on the "Brians Back" campaign, putting his name on almost every song as if it would be his own record, just featuring The Beach Boys (honestly looks that way) and let Brian go all out with this album. The only request the record would make is compose a few "appropriate and marketable" tracks and add them onto the album. Because of that they would work on more tracks and release it near the end of 1978, around when M.I.U. was released or in late October. Also I would think because of the length of each side, to preserve the tracks' quality they would use extended-play LP that could go up to 26 minutes, which works just fine. 

I cleared and mixed some of the tracks to make it sound more listenable. The sequencing of the tracks worked so well that it feels like this was always meant to be this way. I made some tempo changes that worked well and some pitch shifts that sort of didn't but I made them to make the transitions sound more cohesive so, little sacrifices had to be made.

And in the end of the alternate timeline I think it would be much more divisive than Love You, some hating it while others calling it "Brian's second chance at his magnum opus" and I think he sure nailed it. The first side of the album sounds more like Brian's "all out quirky and weird" tracks that sound amazing, and the second side being a more commercial side with more tracks about love and such [don't mind Hey Little Tomboy there ;)] and that side sounds amazing as well. And I added some vinyl crackling sounds to give it that "long lost album" vibes and I guess that could throw off some people but don't worry, I'm going to share a file with the sides without the cracking sounds and maybe with the cover arts after the premiere.

https://drive.google.com/file/d/1PKlJrC_J_ageXdtpOuDbxvEP0rioNz5r/view?usp=sharing

A Quick Word: 0:00

SIDE 1

1) New English Waltz Pt. 1: 0:24
2) Life Is For The Living: 01:58
3) Baseball's On: 03:44
4) Calendar Girl: 06:18
5) Lines: 09:24
6) Shortenin' Bread: 10:55
7) Our Team: 13:44
8) Everybody Wants To Live: 16:14
9) On Broadway: 19:22
10) Deep Purple: 21:55

SIDE 2

1) New English Waltz Pt. 2: 24:47
2) H.E.L.P. Is On The Way: 25:32
3) Match Point Of Our Love: 27:51
4) Sweet Sunday Kinda Love: 31:01
5) Hey Little Tomboy: 33:43
6) Games Two Can Play: 36:06
7) My Diane: 38:04
8) It's Over Now: 40:44
9) Still I Dream Of It: 43:32
10) Winds Of Change: 46:59

ANNOUNCEMENT: 50:29

Adult/CHiLD

The Beach Boys - Adult/CHiLD: The Other Lost Masterpiece [1978 FULL ALBUM LP MIX]

The definitive, authorized, and first-ever biography of Terry Allen, the internationally acclaimed visual artist and iconoclastic songwriter who occupies an utterly unique position straddling the disparate, and usually distant, worlds of conceptual art and country music.    “People tell me it’s country music,” Terry Allen has joked, “and I ask, ‘Which country?’” For nearly sixty years, Allen’s inimitable art has explored the borderlands of memory, crossing boundaries between disciplines and audiences by conjuring indelible stories out of the howling West Texas wind.
 
In Truckload of Art, author Brendan Greaves exhaustively traces the influences that shaped Allen’s extraordinary life, from his childhood in Lubbock, Texas, spent ringside and sidestage at the wrestling matches and concerts his father promoted, to his formative art-school years in incendiary 1960s Los Angeles, and through subsequent decades doggedly pursuing his uncompromising artistic vision. With humor and critical acumen, Greaves deftly recounts how Allen built a career and cult following with pioneering independent records like Lubbock (on everything) (1979)—widely considered an archetype of alternative country—and multiyear, multimedia bodies of richly narrative, interconnected art and theatrical works, including JUAREZ (ongoing since 1968), hailed as among the most significant statements in the history of American vernacular music and conceptual art.
 
Drawing on hundreds of revealing interviews with Allen himself, his family members, and his many notable friends, colleagues, and collaborators—from musicians like David Byrne and Kurt Vile to artists such as Bruce Nauman and Kiki Smith—and informed by unprecedented access to the artist’s home, studio, journals, and archives, Greaves offers a poetic, deeply personal portrait of arguably the most singularly multivalent storyteller of the American West.

Truckload of Art By Brendan Greaves Read by Jason Culp, Brendan Greaves

Veteran Erased Tapes recording artist Peter Broderick set to release new studio album 'Partners' on 19th August 2016.

Order it on LP/CD/DL here: www.erasedtapes.com/store/index/ERATP088

In an email to Robert on February 3rd 2016: 

Dear Robert.

There’s a lot I’d love to tell you about this music.

The inspiration really came when I decided to learn to play John Cage’s In A Landscape on the piano . . . I listened to a recording I had over and over again, five seconds or so at a time, picking out every single note. Then cross referencing what I’d learned with other versions of the piece as well as the original score. The feeling of playing this piece really brought me close to the piano again, and brought new life to my own piano songs.

Beyond Cage’s music, his life and practice have interested me more and more, after having read about his love for foraging wild foods and using chance operations to compose music, in a sense taking his ‘self’ out of the music. I love his so-called ‘mesostics’ and began to write several poems using that method, around this phrase:

I    
N

A

L
A
N
D
S
C
A
P
E

When it came time to record in the studio, I rolled two dice to decide how many poems to read. I rolled 5. Then I assigned a number to each poem and rolled the dice to see which five poems would be read and in which order. That’s the first track Partners, which is also the last word of the last poem I selected through this chance-based process. Track two is my version of In A Landscape. I love playing that piece so much. Carried  is a piece I wrote in Berlin which I’ve played live from time to time. There was a soft vocal loop playing out through an amplifier in the room while I played the piano.

Under The Bridge is my first ever chance-based composition, written by assigning different numbers to different notes and then rolling dice to decide in which order to play those notes. Conspiraling is another piece I’ve been playing for a while. Actually a version of this was recorded in the session that became ‘How They Are’, but it didn’t quite feel right. I like to pretend my voice is like a synthesizer in this song. Then there’s Up Niek Mountain which is a piece I finished composing while in residence at a farm in the Netherlands back in 2010, and is named after one of the family farmers there, Niek, who passed away shorty after I was there. We miss you Niek. The last song is a cover of Brigid’s Sometimes. Brigid to whom I dedicate this recording.

And then there’s Tucker, Mr. Martine, who agreed to record this album without me ever hearing the mixes. We talked about all the sounds and he set up several devices with which to manipulate the sound live, as it was being recorded and mixed down to tape. Francesco also agreed to master the record without me hearing it. I like to imagine maybe one day, five or ten years from now, I’ll walk into a café or roadside diner and hear it for the first time, playing as background music while people eat.

OK surely that’s enough for now! Sorry for blabbing, Robert. Your support has really meant a lot to me. I’ve loved having you in mind while working on this project, knowing it could very well have a home on your sweeeeeet label. Hope all is well.

With love,
Peter

Partners

Sometimes

Buy LP/CD/DL

Peter Broderick - Sometimes

PoB: www.paradiseofbachelors.com/shop/pob-030
Bandcamp: https://itasca.bandcamp.com/album/open-to-chance
Other options: https://lnk.to/PoB30

www.paradiseofbachelors.com/itasca

The music of L.A.-based guitarist, singer, and songwriter Kayla Cohen is mutable and multivalent, richly allusive of the hermetic worlds of private-press canyon-cult mystics and East Coast noiseniks alike. Her adept fingerstyle guitar work—nimble but unshowy, always at the service of framing her plaintively unspooling modal progressions and gorgeous, moonlit voice—centers these melancholy pastorales in a hazy, heat-mirage space equally suggestive of familiarity and distance, community and anomie. Itasca’s enchanting, acid folk-inflected PoB debut is also the first to feature a full band.

This feeling that we, as listeners, have been granted access into Itasca’s private inner sanctum is what helps give [Cohen’s music] its quiet gravity, and her ample instrumental skills and deft songcraft make this invitation well worth your while. 
– Pitchfork

The image of the solitary songwriter strumming away and singing promises transparency, but a chief virtue of Itasca is that she doesn’t give up her secrets too easily. 
– The Wire

Gorgeous acid folk reverie … a heady slice of lysergic ladies of the canyon, with the feel of tropical microdots.
– David Keenan

Open to Chance

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Itasca: Open to Chance - "No Consequence" (2016, PoB-30)

Pre-order the album 'Aforger' out October 14th on LP/CD/DL here: http://phonofile.link/aforger

In a digital age where memories are mimicked by pixels and identity is as malleable as static, Douglas Dare’s new album Aforger questions the boundaries between reality and fiction. 

Inspired by recent events and revelations encountered in his life these songs depict Dare at his most vulnerable, whilst simultaneously reflecting our own obsession with reality and technology back at us.  

Aforger was mixed at the iconic Abbey Road Studios and produced by long-time collaborator Fabian Prynn. In the following conversation Douglas strips back the personal journeys and realisations which preceded its recording.

In a conversation with Douglas Dare on July 11th 2016:

The album title plays with the idea of a forger – someone creating imitations or copies, and reimagines them as the creator of something that’s no longer real. Prior to writing the record, I came out to my father and came out of a long relationship, both were hugely challenging for me and questioned my idea of identity and reality. These thoughts leaked out into the record and formed the core of Aforger. I was determined not to write a break-up album or repeat what I’d done before..

I grew up on quite an isolated farm in Dorset, surrounded by fields and not much besides. My mother taught piano from home and we didn’t have a computer, or the internet or mobile phones. In fact, my family still chooses not to use these things. It’s worlds apart from my life now in London where technology seems to dominate everything I do.

After finding out my boyfriend had been leading this double-life, I became obsessed with the question of what is real and George Orwell’s 1984 felt appropriate for me to re-read. Orwell explains this idea of reality control and Doublethink, and it struck a chord with me. The idea that truth can be steered or changed, and we might be able to believe two contradictory things at once. In my case, ignorance was my protection from the truth and ignorance really is bliss, until you’re no longer ignorant.

Binary talks about the idea that technology is allowing us to live on after we’re gone. A relative of mine whose parent passed away kept a picture of them on their phone as a background image. A friend saw this and asked ‘how can you have that there to constantly remind you of your loss?’ They replied, ‘no I have to, it shows me that they’re still here’. This resonated with me and I thought ‘okay, this is just an image to me but to them it’s more than a reminder or a reassurance, it’s a reality’. At the same time, I was finding myself haunted by the digital reminder of my ex-partner and wishing they would disappear. I had to realise that it’s all just pixels on a screen. 

I think New York can be thought of as this fabricated, magical place. I was there with my boyfriend after touring the U.S., but when I came back to London I discovered all these lies and began questioning everything. I even questioned whether New York actually happened or not. New York is a song that’s literally describing that very real feeling of not knowing who or what to believe any more – scary and magical at the same time. 

Lyrically I wanted to be as honest as possible. The album deals with so much dishonesty, so I felt the lyrics had to be the counterbalance. I was inspired by Björk’s album Vulnicura and how everything is almost awkward in its honesty. Like my first album, Aforger started as poetry, but I consciously tried to be less poetic. For instance, Oh Father is an example of complete unambiguity. It’s certainly the most personal song I’ve put out there, and the realisation that people may hear it makes me feel very vulnerable. That’s the most real feeling of all for me right now. 

Aforger

Oh Father

Douglas Dare - Oh Father

Guessing Games is the latest single from Melbourne duo Telling, out now via Spirit Level on the digital music platform of your choice.

Bandcamp: https://tellingmusic.bandcamp.com/track/guessing-games
Spotify: http://spoti.fi/2cXx5HZ 
Apple Music: http://itun.es/i6hb4D5 

Ben Abraham: voice 
Tim Shiel: guitar, production, voice 
Leigh Fisher: drums 

Artwork by Tommi PG http://tommipg.tumblr.com

Written by Ben Abraham and Tim Shiel 

@benabrahammusic
@timshiel
@spiritlevelco

Guessing Games

Abi Ocia debuts with her first single, 'Running.' 


Produced by: Draper 
Co-produced by: Mkulu
Written by: Abi Ocia/Draper

Running

Buy/Stream

ORDER LP/CD - http://wharfcatrecords.com/store/pre-order-joey-agresta-lets-not-talk-about-music
ORDER LP/CD ON BANDCAMP - https://wharfcatrecords.bandcamp.com/album/pre-order-lets-not-talk-about-music
ORDER ON APPLE MUSIC - https://itunes.apple.com/us/album/lets-not-talk-about-music/id1217572163

Joey Agresta is a former north New Jerseyan who now lives with his wife and cat above a Burlington Vermont junk shop (where he also works). Let's Not Talk About Music was created over the course of three years with Agresta arranging, performing, recording, and mixing it in the cozy confines of his bedroom studio. Though many devices were used in the recording of this album computers were completely avoided and the majority was done on the Akia MG-614 (1/8" cassette 4 track) and MG- 1214 (1/2" cassette 12 track).
Appreciators of the New England underground might know Joey from his days of recording bizarre songs on erase headless, multi layering, portable tape recorders under various, food themed, pseudonyms (Joey Pizza Slice, Son of Salami, Salami Junior, ect..) and his releases on the venerable Night People and Feeding Tube labels (as well as countless self released and custom, one-off cassettes). Agresta's songs have also been admired by some very above-ground acts over the years, among them Future Islands and The Parquet Courts -- the later split a 7" with Agresta in 2015.
Contained here are songs of a hopeful sadness that mirror the darkness of these times and the decaying heart of the songsmith. This is Agresta's most personal and sincere work thus far, sounding much more sonically refined than his grittier past exploits. But in a world filled with so much talk perhaps its best we say no more, as the title suggests, and let the music speak for itself.
JOEY AGRESTA PRESS
Stereogum Streams "I Feel Like Shit And I Want To Die" It's Friday, I can relate.
Ad Hoc Premieres "I Feel Like Shit And I Want To Die" It's one of the most accessible and relatable things Agresta has ever made; and one of the saddest too.

JOEY AGRESTA PAST PRESS
Tiny Mix Tapes Review of Bacon City ...the songwriting is as impeccable as you're likely to find anywhere else...
Pitchfork Announcement of Split 7" with Parquet Courts
Vice Creators Piece Brilliant and kind of scary at the same time.
Stereogum Announcement of Split 7" with Parquet Courts

BUY LP/CD

Joey Agresta - I Feel Like Shit And I Want To Die (from the Let's Not Talk About Music LP)

Robert Lax - Sea & Sky / Black & White

Readers : Robert Lax & Robert Wolf
Recorded in New York City (1974)

Released on Compact Cassette only (1981, exit & exempla, IT)

With permission of the Robert Lax Literary Trust.

Robert Lax - Sea & Sky / Black & White

I had Brendan Greaves, who runs the inimitable Paradise Of Bachelors label out of Chapel Hill, over for a chat about music, records, art, Philadelphia, Craig Kilborn and a host of other topics. 

Visit them at http://www.paradiseofbachelors.com/

Featured Song: "Have You Ever Seen Peaches Growing On A Sweet Potato Vine" by Jake Xerxes Fussell

Follow us here www.facebook.com/thepeopleonmyfloor/
Or subscribe on iTunes here apple.co/2tpZrng

Brendan Greaves of Paradise Of Bachelors - Ep. 5

Will Oldham is an enigmatic singer/songwriter who commonly performs under the name Bonnie "Prince" Billy. For decades, his music and lyrics have explored the human experience with great intensity and respect. With an ear finely tuned to history, Oldham speaks candidly about the role music plays in the past, present and future of our culture in this new interview.

(Season 2, Episode 07 - Revolutionary Writers)

2.07. The Songwriter: Bonnie "Prince" Billy

Exclusive all-vinyl mix from SONIDERO MIXTECO ahead of our homecoming Brooklyn show at Elsewhere (Hall) w/ Crumb & Caleb Giles on May 25.

Tickets: https://ticketf.ly/2HygY3g

Sonidero Mixteco: ELSEWHERE MIX

Jake Xerxes Fussell
Out of Sight
LP/CD/Digital
PoB-042
June 7, 2019

On his third and most finely wrought album yet, guitarist, singer, and master interpreter Fussell is joined for the first time by a full band featuring Nathan Bowles (drums), Casey Toll (bass), Nathan Golub (pedal steel), Libby Rodenbough (violin, vocals), and James Anthony Wallace (piano, organ). An utterly transporting selection of traditional narrative folksongs addressing the troubles and delights of love, work, and wine (i.e., the things that matter), collected from a myriad of obscure sources and deftly metamorphosed, Out of Sight contains, among other moving curiosities, a fishmonger’s cry that sounds like an astral lament (“The River St. Johns”); a cotton mill tune that humorously explores the unknown terrain of death and memory (“Winnsboro Cotton Mill Blues”); and a fishermen’s shanty/gospel song equally concerned with terrestrial boozing and heavenly transcendence (“Drinking of the Wine”).

“In our house we’ve listened to more Jake Fussell than any other individual artist over the past year. Jake lives in music as a true time-artist, using the qualities of time itself as irreplaceable elements of content. As long as Jake Fussell is making records and playing shows, there is ample cause for optimism in this world.” – Bonnie “Prince” Billy

"Jake Xerxes Fussell is a national treasure.” – Aquarium Drunkard

“His burly, winking voice is made for storytelling.” – NPR

“Achingly beautiful. He has an uncanny ability to illuminate the present by propping up a window against the past.” – Uncut

“Jake understands that old songs weren’t always old. On his third album, he’s subtly shading his music with more instruments. It’s still uncluttered. Still melancholy. Still threaded through with that elegant, deceptively simple guitar—its tone like no other. This is a journey you need to share.” – Colin Escott, author of Hank Williams: The Biography

http://www.paradiseofbachelors.com/jake-xerxes-fussell/

Out of Sight

Buy LP/CD/DL/stream

Jake Xerxes Fussell: Out of Sight - "Jubilee" (2019, PoB-042)

https://www.youtube.com/watch?v=1XzY2ij_vL4

Ransom

Terry Allen and the Panhandle Mystery Band
Just Like Moby Dick
PoB-055
2xLP/CD/digital
January 24, 2020

www.paradiseofbachelors.com/shop/pob-055
www.paradiseofbachelors.com/terry-allen
http://lnk.to/PoB55

Iconic and iconoclastic Texan songwriter and visual artist Terry Allen’s heartbreaking, hilarious new album, his first set of new songs since 2013’s Bottom of the World, features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville’s masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to Lubbock (on everything), Just Like Moby Dick casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates (in a pseudo-sequel to Brecht and Weill’s “Pirate Jenny”), the wars in Iraq and Afghanistan (in the “American Childhood” suite), a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. 

The deluxe tip-on gatefold 2×LP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth side vinyl etching artwork by Allen.

Allen’s songs extract strangeness from the known world & use it as a means of acquiring greater knowledge ... which is as good definition of wisdom as any. – The New Yorker

He’s pretty close to a master lyricist. – The New York Times

Riveting. – NPR

Stunning. – Pitchfork

Aural brilliance. – The Wire

Uniformly eccentric & uncompromising, savage & beautiful, literate & guttural. – Rolling Stone 

Allen carries the dust of West Texas in his throat, with a voice like a coyote’s yip & a twang like wind-thrummed barbed wire. – Bandcamp Daily

There may be no greater maverick in all of country music. – AllMusic

A true legend & a hero. I love Terry’s music so much. – Kurt Vile

Just Like Moby Dick

2xLP/CD/DL/stream

Terry Allen & The Panhandle Mystery Band - "Harmony Two"

Paradise of Bachelors is a Record Label, Soundsystem, and Archive located in the North Carolina Piedmont and in the subluminal aether. We are dedicated to documenting, curating, and releasing under-recognized musics of the American vernacular, with an emphasis on the South, broadly defined. 

Paradise of Bachelors is available for licensing, disc-jockeying engagements, music supervision, folklife consultation, research and writing. We cheerily accept recordings, visual media, curatorial proposals, tips, comments, invitations to DJ, artist inquiries, research queries, recipes, and miscellaneous correspondence. 

info@paradiseofbachelors.com

PO Box 1402
Carrboro, NC 27510

Itasca: Open to Chance - "No Consequence" (2016, PoB-30)

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