Weekend links 744

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Postage stamp design by Dario Canovas celebrating Argentina as guest of honour at the 2010 Frankfurt Book Fair.

Sideways Through Time, Joe Banks’ book of Hawkwind interviews, was initially available as an exclusive supplement with the special edition of Days of the Underground, Joe’s essential history of Hawkwind’s first decade. From the end of October both books will be available as separate editions from Strange Attractor, with the interview collection being republished in a revised and expanded edition.

• “Two heads are better than one”: Another extract from Two-Headed Doctor: Listening For Ghosts In Dr John’s Gris-Gris by David Toop.

• “Rammellzee was an electric presence”: Thurston Moore on NYC’s graffiti-writing hip-hop pioneer.

• New music: Long Tail Of The Quiet Gong by Robert Rich, and Neostalgia by Heiko Maile, Julian Demarre.

• At Colossal: Postage stamp designs by Tùng Nâm showing portraits of endangered animals.

• At Public Domain Review: Edwin D. Babbitt’s Principles of Light and Color (1878).

• At Print magazine: An interview with design anthropologist Keith Murphy.

• At Unquiet Things: Tristan Elwell’s visual spellcraft.

• Mix of the week: Bleep mix 287 by Sarah Davachi.

Mariam Rezaei’s favourite music.

Over Under Sideways Down (1966) by The Yardbirds | Stepping Sideways (2003) by John Foxx & Harold Budd | Trip Sideways (2010) by The Time And Space Machine

Listen to the Colour of Your Dreams: Part One

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Blame these things: the Jon Savage booklet, and Mojo Presents Acid Drops, Spacedust & Flying Saucers (design by Phillip Savill).

One of the commissions for the New Year is psychedelia-related so to get in the mood I’ve been listening to the six CD compilations of psychedelic songs I made some years ago. I must have spent about five years gathering everything on these discs which comprise 132 selections in all, three for UK music and three for the USA, covering the years 1966–1969. The impetus was an annotated booklet listing “100 mind-expanding masterpieces” that Jon Savage had compiled for Mojo magazine in 1994; a revised list was published in 1997 along with some debatable contemporary additions. Things came to a head (so to speak) in 2001 when Savage and fellow Mojo journalists put together a four-CD collection of prime UK psychedelia for EMI, Acid Drops, Spacedust & Flying Saucers, which included many of the songs from Savage’s list. That collection and the Rhino Records Nuggets box began the mania to accumulate everything on Savage’s list. Once I’d started burning my own compilations the Savage 100 quickly expanded when I realised that I ought to include more favourites of my own.

To start the year, then, I’m uploading all six compilations to Mixcloud beginning with the UK selection. Despite all the effort and the number of songs this still isn’t a definitive collection. As Savage observes in his notes, the late 1960s was a time of massive over-production by record companies with hundreds of singles released, especially in the UK. Many one-off releases by obscure bands are as good as those that topped the charts which is why psychedelic compilations are so numerous, and why omissions are unavoidable.

With that proviso here’s the first part of the UK collection covering the years 1966 to 1967. The tracklist below indicates in bold the songs from the Savage 100 with notes about my additions. The listing is by order of release although this isn’t strictly accurate throughout. I’ll be uploading the rest of the compilations over the next few weeks.

UK Psychedelia, Part One by Feuilleton on Mixcloud

Dialogue — Alice In Wonderland (From Jonathan Miller’s BBC film, 1966.)
The Beatles — Tomorrow Never Knows
The Rolling Stones — Paint It Black
The Creation — Making Time
Craig — I Must Be Mad (A ferocious single by a band that only released one other 45 before splitting. Carl Palmer is on drums.)
Donovan — Season Of The Witch
The Yardbirds — Happenings Ten Years Time Ago
The Misunderstood — I Can Take You To The Sun (An American band who moved to London in 1966. This was their second and final single, and one of John Peel’s all-time favourites.)
Cream — I Feel Free
The Beatles — Strawberry Fields Forever
Pink Floyd — Interstellar Overdrive (Savage has the version from Tonite Let’s All Make Love In London which runs for almost 17 minutes. The version here is the shorter one from Piper At The Gates Of Dawn.)
The Smoke — My Friend Jack
The Poets — In Your Tower
The Move — I Can Hear The Grass Grow
The Troggs — Night Of The Long Grass
Traffic — Paper Sun
The Jimi Hendrix Experience — Are You Experienced?
Tomorrow — My White Bicycle (Savage has a later single, Revolution, but I much prefer this earlier 45.)
John’s Children — Midsummer Night’s Scene
Dialogue — Yellow Submarine
The Beatles — It’s All Too Much
The Attack — Colour Of My Mind
Small Faces — Green Circles

Previously on { feuilleton }
What Is A Happening?
My White Bicycle
Ogdens’ Nut Gone Flake
Tomorrow Never Knows
The Dukes declare it’s 25 O’Clock!
Yellow Submarine comic books
A splendid time is guaranteed for all

Main

hz.jpgIt’s the same every year, the weather gets hot (30C today) and out come the Main CDs, although the march of progress has meant importing them into iTunes this time round. For some reason Main’s Hz collection (6 EPs, later a double-disc set) is especially suited to warm temperatures, partly due to remembrance of them being released one a month during the hot summer of 1995.

Main seem somewhat neglected now despite being in the vanguard of a particular brand of ambient abstraction that emerged throughout the 1990s. To redress the balance slightly, here’s a David Toop interview from The Wire conducted just as the Hz project was getting underway.

Main‘s multi-layered, mud-encrusted textures suggest everything from radio interference to insect chatter. The group’s Robert Hampson talks to David Toop about reinventing the guitar and the mystery of electroacoustics.

DRAW A STRAIGHT LINE on sand, water, skin, steam (and follow it). Main is texture: the interiority of the guitar. The electric, effects-augmented guitar is transitional technology, a mid-point between the dextrous physicality of traditional instruments and the imaginative space of the electronic studio. But also a return to the untempered crystal world of harmonic complexity, a reversal of the pure, precise clarity of classical acoustic guitar, back into the droning resonant strings of an Indian tamboura, bottle tops rattling on a Shona thumb piano, or spider’s egg sacs buzzing on gourd resonators lashed under a Central African xylophone.

Continue reading “Main”