For a while Oxford's Ride were the darlings of the music press and were seen as the future of British music. It was all pretty short lived though. This is their beautifully packaged and sonically awesome debut on Creation records.
Andy Bell later went on to play bass with Oasis- tragic. Loz Colbert has also been in Supergrass and The Jesus and Mary Chain.
Chelsea Girls, Drive Blind, All I Can See, Close My Eyes
Steve Queralt- bass
Loz Colbert -drums
Andy Bell-guitar, vocals
Mark Gardener -guitar, vocals
Paris, July 21st 1927- the Anarchist International Defence Committee gave a banquet to celebrate the release of the Spanish comrades Ascaso, Durruti and Jover. They had been imprisoned for plotting to assassinate King Alfonso of Spain . Whilst they were in custody both Argentina and Spain had applied for their extradition. If extradited they would face the death penalty. A sustained effort by the Anarchist International Defence Committee succeeded in frustrating the extradition attempts.
Following the beano a meeting was arranged- Ascaso and Durruti went back to Makhno's. A Russian interpreter was present (like many eastern Ukrainians Makhno's first language was Russian rather than Ukrainian).
The three men had a lot in common- they were all under 40, exiles, fugitives, anarchists, workers (in fact Makhno and Durruti had both worked in the Renault factory) .
At 38 Makhno's halcyon days were behind him- sentenced to death at the age of 17 for his revolutionary activities, by the age of 28 he had served ten years in Russian gaols - in 1918 he met Lenin in the Kremlin; between 1918 and 1921 he had led the Revolutionary Insurrectionary Army of Ukraine to successes against the German/ Austro- Hungarians, the Whites and The Red Army before eventually being driven from his homeland . Now in exile in Paris, his life was a struggle. He had suffered many serious injuries during the conflicts in Ukraine (one of his ankles was shattered by a dum dum bullet) and had suffered the effects of typhus and tuberculosis.
Buenaventura Durruti was one week past his 31st birthday. He had been at odds with the authorities since his teens, and had first gone into exile in France in 1917. Returning to Spain in 1919, he joined the CNT. Durruti gained a reputation as a man of action, involved in many acts of expropriation. in Gijón, in September 1923, he and his comrades carried out what was at the time the most lucrative bank raid in Spanish history. Following a coup detat Durruti and his comrades organized attacks on the military barracks in Barcelona and on the border stations with France. These attacks achieved little and cost the lives of a number of comrades. Following these setbacks, Durruti and his companions (including Ascaso) once again went into exile, this time to Argentina (later travelling to Cuba and other South American countries- they carried out the first bank robbery in Chile’s history). The proceeds of these expropriations funded anarchist and union movements in Europe and the Americas. When Durruti returned to Europe he worked in a Renault factory in Paris.
In 1924 King Alfonso XIII of Spain visited Paris. Ascaso and Durruti plotted an assassination attempt. They were arrested and gaoled for a year, along with a third comrade, Jover.
When they met Durruti acknowledged the manner in which Makhno's activities had inspired him, and Makhno reciprocated by making positive observations about the likelihood of an anarchist revolution succeeding in Spain, for which he saw several encouraging factors.
Makhno is recorded as saying:
Anarchism is neither sectarian nor dogmatic.It is theory in action. it doesn't have a pre-determined worldview.It is a fact that anarchism is manifest historically in all of mans' attitudes, individually or collectively. Its a force in the march of history itself: the force that pushes it forward.
...Makhno has never refused a fight. If I am still alive when your revolution begins, i'll be one fighter amongst many.
Durruti's 'revolution'- Anarchist Catalonia- came nine years later, but by then Makhno had died (on July 6th, 1934, at the age of 46) of the tuberculosis which had troubled him since his youth in prison.
Some veterans of the Revolutionary Insurrectionary Army of Ukraine did actually fight alongside the Durruti Column.
Ascosa was killed in Barcelona on the first day of hostilities in the Civil War, July 20th, 1936. He was 35.
Durruti was killed in action (possibly accidentally shot by a companion) in November 1936.
Accounts of these interesting lives are often contradictory.
The following books are well worth a look :
Durruti in the Spanish Revolution - Abel Paz.
Nestor Makhno: Anarchy's Cossack - Alexandre Skirda
Ok, Russian readers- marks out of ten for my translation? In my learning of Russian, which I admit is very limited , I owe the most (by a long, long way) to my girlfreind Natalia, secondly to my former teacher Galina and thirdly to Sergei "Shnur" Shnurov of Gruppa Leningrad.
I don’t remember when we moved,
I was probably drunk at the time.
My address is not a house or a street
Today my address goes like this:
w-w-w Leningrad s-p-b dot ru
When a cop stops me and says
You’re not registered anywhere
I answer calmly
Today my address goes like this:
w-w-w Leningrad s-p-b dot ru
When I get really drunk
I stop the motor
Alright, chief, let’s go home,
I’ll show you the way.
w-w-w Leningrad s-p-b dot ru
So I've re upped those albums.
Thanks to Tom for pointing out the problem and apologies to any disappointed listeners.
A nice clean vinyl rip of a record that sounds surprisingly fresh. This was a repressing of the 1978 debut that included the previously surpressed Asylum.
So, with our entire stage set on record... the music press were able to commence on the barrage of attack that has followed us throughout the years. They hated it and us and their loathing positively overflowed. It is not grandiose to claim that we have been one of the most influential bands in the history of British rock, true we have not greatly influenced music itself, but our effect on broader social issues has been enormous. From the start the media has attempted to ignore us and only when its hand has been forced by circumstances has it grudgingly given us credence. It's all fairly simple, if you don't play their game, that is commercial exploitation, they won't play yours.
http://d01.megashares.com/dl/4mgMLYg/Crass- The Feeding of the 500 The Second Sitting.rar
Dado Villa-Lobos – guitar
Renato Russo – vocals, acoustic guitar, keyboards, bass
Renato Rocha – bass
Marcelo Bonfá – drums and percussion
I'm going to walk right into the trap now (it's a habit I've noticed) of describing an artist from outside Britain or the USA as being their equivalent of some British or American act.
So, Legião Urbana are Brasilia's version of some generic C86 band- popping bass, jangly, stuttering guitars, lovely soulful vocals. Hang on- they actually remind me more of The Connells...
Here are their first two albums.
Brazilian music isn't all about samba and bossa nova, but never fails to reflect the dizzying eclecticism of that nation's culture.
Germaine Greer The Independent 28.06.96
Football is not an art, but there is an art to playing good football.
Ruud Krol (Ajax 1968–1980)
If I wanted to make you understand I would have explained it better.
Johann Cruyff (Ajax 1964–1973)
I've pretty much kept football out of Burning Aquarium up until now, but it is, after all, a World Cup year, and I've just read two very interesting books on the game...
Back in November there was a post on Ian Bone's blog that posed some questions about the concept of socialist football.
The Bonemeister settled on the Golden Squad of Hungary in the 1950's as being the likely epitome of this concept.
They were, as every schoolboy knows, managed by Gusztáv Sebes, who advocated what he referred to as socialist football. In the 1920's Sebes had worked as a trade union organiser in both Budapest and later Paris, where he was employed as a fitter for four years with Renault, who , during that decade also employed the exiled Nestor Makhno and Buenaventura Durruti (now, you couldn't make that up...).
As I commented at the time: Strange dressing room dynamics I’m sure- coach Sebes a commited socialist, centre back Lorant a rehabilitated political prisoner and keeper Grosics an SS veteran!
Hungary's succes lay in their fluidity. Other teams still relied on very regimented approaches, and when the Hungarians digressed from this rigid positional play nobody knew what to do about it. A similar phenomenon had been seen in the Dynamo Moscow team that toured Britain in 1945- organised disorder. In the fascinating Inverting The Pyramid-the History of Football Tactics Jonathan Wilson looks at the major tactical innovations that serve as milestones in the history of the game. These broadly involve a move towards more cohesive teamwork as opposed to individual endeavour and the need for greater flexibility and appreciation of the value of space. Wilson writes at length about the great Soviet tacticians Maslov and Lobanovski.
Lobanovski in particular viewed a game of football as a system in which the individual had clearly measurable targets to meet. He applied mathematical principles to the game- he said that a game was a system of 22 elements (the players), two sub systems of eleven elements (the teams) moving within a defined area (the pitch)and subject to a series of restrictions (the rules). If one system were stronger, it would win- simple.
It was Wilson's analysis of the Ajax teams of Michels and Kovacs that led me to read the second book, Brilliant Orange: The Neurotic Genius of Dutch Football by David Winner. Winner looks at the ways in which the Dutch game reflects the national psyche. He draws parallels between football, politics, art, architecture and town and country planning. The Ajax teams that dominated Europe in the early 1970's were, he says, close to being workers co operatives . The development of Total Football in The Netherlands is considered in the context of its being a reflection of the cultural revolution (inspired by The Provos) that produced an increasingly liberal and egalitarian society. Dutch society has a strong tradition of co operation, their earliest political systems evolved along these lines, and Winner stats that this is still evident in the society of the modern Netherlands. Similarly these great teams relied on those principles. Teamwork, understanding each others' roles, being able to step into the place of the next man. Indeed, once Rinus Michels had instilled the ideals of his system into the core of players, his successor, Kovacs, seems to have been content to allow them an unparalleled degree of autonomy . There was no place for reliance on dazzling individualism (although several of Ajax's players would have been capable of this) nor for strong but clumsy defenders. The system was everything, and devotion to the system was the player's greatest responsibility. A testament to this can be seen in the fact that under Michels The Netherlands reached the final of the 1974 World Cup with two central defenders who prior to the tournament had never played in those positions at international level.
Interestingly the Netherlands, like Hungary in the 1954, failed to win the World Cup despite their dominance (in fact, twice in a row. Winner also has theories of how Dutch nature is better suited to this ultimate failure rather than success ). When they did finally win their only major title, the UEFA European Championship in 1988 (with Michels as coach) it was at the expense of the Soviet Union, who were coached by Lobanovski.
A person with a mental health problem who makes records as opposed to a person who makes records and has a mental health problem?
Me and ‘im swear an awful lot and it’s not because we’re trying to do like the Ghetto Boys “Fuck em! Fuck em! Fuckemfuckemfuckem!” - and what’s that other song Limp Bizkit do? “Fucking with the fuckers and a fuck fuck fuck!”? It’s not like that at all – it’s just….well have you seen Twin Town? That’s how we do fucking speak down here. And it’s fucking fucked like.-Nobsta
The critic Fredric Jameson described Postmodernism as the dominant cultural logic of late capitalism.
Characteristics of Postmodernist practice in music are eclecticism and freedom of expression. And since it's emergence in the urban African American culture of the late 1970's there has been a strong case for viewing Hip Hop, with its appropriation and innovation , as a Postmodernist phenomenon.
According to Brent Wood in his paper Resistance in Rhyme (Postmodern Culture 7. 1 September 1996): Hip-Hop ought to be thought of as postmodernist due to the ruthlessness with which it employs capitalist weaponry and the found objects of the postindustrial urban mediascape.
Much has also been written about Hip Hop's relationship to the Postmodern practice of pastiche.(Dr Karen Malone in Hop Scotch versus Hip Hop: Questions of Youth Culture, and Identity in a Postmodern world).
We've never had any Hip Hop at Burning Aquarium. If you've never heard the Headcase Ladz before prepare for a real treat...
What draws me to the Headcase Ladz isn't the seductive intellectual qualities of Postmodernism, but rather the fact that they are funky and funny. Inventiveness is everything.
When I approached Slicer Man about including some Headcase Ladz on Burning Aquarium, he very generously gave me access to a large number of downloads, along with biographical information and lyrics, so hats off to the Dek Masha.
Thanks to Slicer I now have a very large collection of Headcase Ladz material. I've chosen just a couple here for your delectation.
If you like what you hear just let me know and I'll post some more, and keep an eye out for new releases.
Headcase Ladz are;
DEK MASHA - SLICER MAN (right) [producer/turntablist/lyrics]
NOBSTA NUTTS (left) [m.c.]
The Headcase Ladz have been active in hip-hop culture since the early 1980`s, and some of their earliest breaks include recording with the seminal British label of that time “Music Of Life”, winning industry only talent competitions and lecturing turntablism and m.c.ing through university schemes.
During the 90`s the ladz accumulated a 60 strong C-90 catalogue of material culminating in their “Wonky Edz” and “Straight from the donkey`s mouth” L.P’s in 1997/98 and 1999 respectively, both releases gained 4/5, 5/5 reviews across the board. The entire pressings of these releases sold out in just a few months after release.
A very busy crew, The HeadCase Ladz side projects include Deck Masher Slicer Man`s band “GoatBoy”, a band providing an eclectic blend of blues, funk hip-hop and drum and bass, Their new album has been having great reviews from the press and with dj’s like John Peel recently getting them on for a session, a U.K. tour in march/april 2002 and confirmation to play the Avalon stage on Friday at 8.00pm in Glastonbury, plus just releasing a free c.d. of their radio sessions, the future looks bright.
The ladz have also released on their “Wonky Wax” label the “Lewz Tunes and Nobsta Nutts” 7-inch, a funk hip-hop hybrid which sold out in under two months, gaining single of the month in two different sections of “Big Daddy” magazine.With a couple more lew’s tunes e.p.’s and albums already finished and about to be released plus slicer man doing endless side projects the horizon just keeps expanding.
The new six track e.p “Absurdisms-A check up from the neck up” showcases complex layered production with distinctive vocal delivery.
The E.P. was mixed by leading hip-hop engineer “No Sleep Nigel”, who was so impressed by the group that he has asked to work on future projects.
Indeed promos of the new e.p. have pricked up ears of some of Britain`s leading heads. Depending on availability artists such as “Blade”, The Herbaliser, “Mr.Scruff”, “Aspects”, “Junior Disprol” of “Fleapit” and “Napoleon” from the Cincinnati group “Is-What” have confirmed their eagerness to collaborate future projects.
Currently just finishing off our next single, then we will be featuring on one of the next “Herbaliser” projects to be released on NINJA TUNE, Plus after The Ladz playing with them at the essential festival, then supporting them at The London Forum, The Herbaliser will be remixing the Ladz next single as yet to be titled.
While the beginning of march will see the collaboration on A track titled ”mullet for a day, sir!” Featuring “Boswel Heinss” and “M.C. Ramone”(from Nottingham), plus another track titled “My minds have a mind of their own”, which Boswell appears on (recently had a release as “Clinical Daz” on the Red Eye Knights compilation).
The groups productions have even recently landed them a licensing deal for future work starting with the release of a newly completed “Battle Breaks” style L.P. which is yet be titled , Recorded in their own distinctive style, along side the release of further material from the ladz including the “Unreleased Bangers” series and more recently the “live radio session” c.d., a collection of tracks completed in spare moments (If that sounds possible). The next single titled “Funky Fresh” has also been completed and work with a female new york rapper on a track we are doing next year is in the pipeline as well as collaborating with Cincinnati hip hop funk group “IS-WHAT” and an emcee called “Phalon”, while planning a small tour out in the U.S. for early to mid 2003..
the entire 1000 first pressing of the e.p. is off for worldwide distribution and further to recent t.v. and radio appearances the Ladz constantly working for what they believe in, With plenty of work offers and skills and material to back it up, things look good for the Headcase Ladz. so all that is left for me to say is…..
“COME ON AND GET A PIECE”.
In a sidestreet off Arbat in Moscow there is a graffiti wall dedicated to the memory of Viktor Tsoi where admirers still gather to pay tribute to the man who's contribution to the pop culture of the Soviet Union was immense.
Viktor Robertovich Tsoi (21.06.62-15.08.90)
Printed on the cover: There is absolutely NO reason for this LP to cost more than £3.50...
When, in 1984, Conflict left Crass to establish their own Mortarhate label they carried on many of the traditions of their mentors, providing gritty anarcho punk at pocket money prices and giving vinyl exposure to smaller, often D.I.Y bands.
This is a vinyl rip of the 1984 release. I gather that there was a CD issue in 2003, same tracks but with a tidy booklet. No booklet here but the authentic crackle of the cider fuelled wrath of the Thatcher years. Firm historical orientation is provided Conflicts opener, Cruise, which I'm sure some people will insist was about the diminuative star of 1983's Risky Business rather than the ballistic missiles that President Reagan planted in the UK.