#Country Moog

[doyoulikethissong-poll]

Harold Faltermeyer - Axel F 1985

"Axel F" is an electronic instrumental track by German musician Harold Faltermeyer. It served as the theme song for the 1984 film Beverly Hills Cop, its eponymous character (as portrayed by Eddie Murphy) and the film franchise it is based from, which became an international number-one hit in 1985. The track reached number one in Ireland as well as on the US Billboard Hot Dance Club Play chart. Additionally, it was a number two hit in Belgium, Canada, the Netherlands, Switzerland, the UK, and West Germany. In addition to the Beverly Hills Cop soundtrack, the song appears on Faltermeyer's 1988 album Harold F. as a bonus track.

Faltermeyer recorded the tune using five instruments: a Roland Jupiter-8 provided the distinctive saw lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming. All instruments were played by Faltermeyer. According to Faltermeyer, the initial reaction to his first presentation of the track to the film's producers and director did not result in an immediate approval; it was not until director Martin Brest voiced his approval that the producers showed enthusiasm. A music video was produced to promote the single, directed by Faltermeyer.

"Axel F" has been sampled in many songs, including "Champion" by South Korean singer Psy. In 2005, Crazy Frog's version became a summer hit. It topped the charts in the UK, with some of the best weekly sales of the year, and remained at the top of the UK Singles Chart for four weeks to become Britain's third-best-selling single of 2005, outselling and outperforming the original version. It also reached number 1 in Australia, the Republic of Ireland, Belgium, Denmark, New Zealand, Norway, Ukraine, Spain, and Sweden. In France, the song stayed at number 1 for thirteen weeks, only to be dethroned by Crazy Frog's second single, "Popcorn". This was only the second time that an artist had ever dethroned themself in that country. It peaked at number 3 on the US Digital Sales chart, and number 2 on the US Adult Contemporary Top 20. In 2024, as part of a tribute to celebrate the release of Beverly Hills Cop: Axel F, the Crazy Frog Youtube Channel made a special crossover music video with Netflix, featuring scenes from the movie, but re-edited to feature Crazy Frog in them, being chased by the Beverly Hills Police and Axel Foley.

"Axel F" received a total of 88,3% yes votes!

[vintagegeekculture]

I remember a friend of mine had some LPs that were Star Wars themed disco albums, and it brought back a very weird memory from back in the 70s (yes, I'm old!) of listening to a Star Wars disco mashup on the radio. What was all that about? I also remember something like that for Close Encounters, too.

You remember correctly, and this went on for a long while. In 1983, disk jockeys around the country played a record that involved an Ewok rapping the plot of Return of the Jedi in Ewokese. This made it to #60 in the Billboard Top 100.

This is hard to explain to people who weren’t there….but in the wake of Star Wars in the late 70s and early 80s, scifi was so beloved and mainstream that the orchestral music for nerdy scifi and fantasy movies about outer space were remixed and sampled into Giorgio Moroder-esque Italo-Disco dance numbers. And the most astonishing thing is, instead of being consigned to convention acts the way “horse famous” Brony dubstep acts are, this received national airplay on the radio, reached the pop music charts, and were played in discotheques. And incredibly, this continued for years and expanded from Star Wars into Star Trek, Wizard of Oz, Black Hole, Close Encounters….

All of this was the work of one specific person: Meco (or Dominico Monardo). The term “ahead of their time” is thrown around a lot, but Meco really was: a combination producer-songwriter and Italo-Disco pioneer in the style of Giorgio Moroder, he did several things that are now absolutely standard: he used remixes and sampling before hiphop made that standard for musicians, he wrote “fandom music” on a Moog synthesizer decades before Bronies turned their conventions into cringey dubstep concerts with songs like “Everypony Dance Now.”

It's stunning to me that Meco has not been rediscovered, considering every single trend in the culture essentially went his way.

The most startling thing about Meco’s Star Wars disco album, the one that got the ball rolling on this trend, is this: I always assumed it was some kind of cash in created by a record label mandate, a label executive’s completely cynical choice to hop on a hot new trend. That isn’t a crazy thing to think at all, since Star Wars is and always has been the most merchandized and sold out scifi property ever. But it wasn’t! You see, it was all the product of a single man’s specific vision: Meco had to convince his record label to make the record because they were skeptical.

When Meco went to see Star Wars in 1977 on Opening Day (what an experience that must have been) with his friend and fellow Italian chest hair/gold medallion enthusiast Tony Bongiovi, he was already an experienced producer-songwriter who had worked with Gloria Gaynor, Diana Ross, and formed DCA, the Disco Corporation of America. If you've ever listened to Diana Ross's "I'm Coming Out," Meco actually played the trombone solo in that song. Seeing the Star Wars movie for the first time, though Meco thought the movie was nothing short of a religious experience. Originally, he wanted to do Star Wars music as a b-side on a Gloria Gaynor album, but expanded the idea into an entire album.

In Meco’s own words:

"When I think about what I did, nobody came to me, nobody said 'Meco, why don't you do this.' Nobody says 'Here's some money go make a record of this movie.' It was just my own... It was magical, it was just out of this world when all that happened."

Not only did this album hit platinum, not only did it actually outsell the Star Wars soundtrack, his remix of the Star Wars theme also went to #1 in the charts. It’s actually the best selling instrumental single of all time. A record, that, incidentally, it holds to this day.

Dick Clark, host of American Bandstand, had this to say about Meco:

"In 1977, Meco Monardo accomplished something no one else has ever done to the best of my knowledge. He was the first one in history to out-sell the soundtrack of a motion picture with his own distinctive version of a film's music. The music was totally danceable, and broke new ground. It's no wonder the STAR WARS THEME went to # 1. I loved his treatment of music from THE WIZARD OF OZ. Again, Meco created something innovative. The fun and the excitement gave a whole new feel to that totally familiar and well-loved music."

Like a lot of studio producers, Meco had an insane work ethic and hit when the iron was hot: he did an album about Close Encounters that exact same year, but also did a Star Wars Christmas Album, one of the strangest pieces of Star Wars kitsch around.

One of the most interesting things about the Star Wars Christmas album is that one of the songs, “R2D2’s Wish You a Merry Christmas” is the first professional vocals by John Bon Jovi, who was Meco’s friend Tony Bongiovi’s seventeen year old younger cousin (he was initially known as John Bongiovi). It's incredible to hear a squeaky voiced teen Bon Jovi on a kitsch album about a robot Christmas.

1978-1979 was really his best year. Meco made an Italo-Disco remix album entirely devoted to Superman, and at this point, Meco had the pull to get access to John Williams's sheet music for the score before the music even came out. In my personal opinion it's the best of them because he has to recreate it entirely with his own instruments, leading to a very unique sound.

He also did an album based on the Wizard of Oz:

And a combination album of Star Trek/Black Hole. It's probably the earliest remixing date of Goldsmith pieces of music: the Motion Picture Theme (which is now associated with the Next Generation - hearing it done in Italodisco is uncanny) and the Klingon Theme:

Incidentally, I think the design here of the Meco Enterprise, which had to be modified for legal reasons, would make a wonderful canon starship if anyone wants to be inspired by it. It reminds me of the same concept that would be used in the very next film for the Reliant-class of ships.

Meco eventually retired from music in 1985, but unfortunately he is no longer with us, as he passed into the next dimension in 2023. I think he showed us that creativity is often about transformation, and was inspired to make his art by a legitimate awe of space, the cosmos, and human imagination that the scifi movies of the 1970s and 80s provoke.

[budgies-with-pencils]

A (maybe) Comprehensive List of everything we know about the diner crew visually

I MAY BE MISSING STUFF. If you find anything for me to add comment! :^]

Also this is NOT meant to police anyone's designs. My designs don't follow any of this half the time. I just thought it'd be fun.

DINER CREW:

-Gloria doesn't wear makeup much [Farmhouse]

-Gloria is mexican [Duh]

-Gloria is a “tiny Spanish woman" according to Caspar [Chaos!]

-Ava is "stronger than she looks" [Big, Malevolent Thing]

-Leif has some variety of Facial Hair [Transdimensional Haboob]

-Caspar is white as hell [This is obvious emotionally, but Sheep?]

-The Mucklewains are canonically hot. [Farmhouse]

-The Mucklewains look like an "Alt-Country Duo" according to Gloria [Farmhouse]

-Zebulon does not have a mustache [Welcome to the Horizon (MB, not the miniseries)]

OTHER MAJOR CHARACTERS:

-Clementine has red hair. [several episodes]

-Clementine is, in this universe, the reference for the painting "Woman with Red Hair" by Amadeo Modigliani. This also implies that Terric, at some point, looked like painter Amadeo Modigliani, as he mentions he painted it. [Brunch]

-Ex looks, and I'm quoting directly here, "like some sort of things nerds masturbate to" [Pockets]

-Kazi's eye color changes frequently [Three Sisters]

-Kazi "Has a claw". You apparently don't want to see it. [Three Sisters]

-Kazi white as a ghost" [Three Sisters]

-Teta is incredibly tall, and has large horns [Welcome to the Triad]

-Libusa is "older than she looks" [Three Sisters]

-Libusa is bright yellow [Three Sisters]

YOUNG LEIF:

-BertBert is not a fish [Segius]

-BertBert does not have bangs [Interludes: Vela]

-BertBert has a "muscular Frame" according to Leif. [Nancy]

-Bertbert is blue [Welcome to the Triad]

-Verge looks mostly human apart from "Two Things" (one thing likely being the arms.) [The Wayfaring Stranger]

-Verge has a tattoo on their arm of all the bounty hunters they've killed. As of this episode, it has four lines [Escape from Moog]

-Verge has an extra set of arms they keep hidden [Welcome to the Triad]

[spxcefarer]

Starfield Radio Stations (a collection of Spotify playlists)

Sooo I got super bored yesterday and made 11 (yes, eleven) Spotify playlists for radio stations I made up for the Starfield universe. There's a huge mix of genres, so I thought maybe some of you guys might like to listen too. I've aimed for around 50 tracks each but total lengths vary a little. You can also click here to see all the tracklists.

Red Rock Radio - "martian radio for all your heavy listening needs" - perfect for dogfights and shootouts. Heavy, rhythmic, lots of classic and contemporary hard rock. Probably something the Red Devils would listen to, and a personal favourite of mine.

Space-DST Radio - "classical rock to ease you through the spacelanes" - recently taken up space-trucking? Got you covered. Road-trip bangers and dad-rock in this one.

Asteroid FM - "ambient tracks for when you're lost in space" - think lots of instrumental mountain banjo and some psychedelic rock themes. Some vocal tracks but not many, very mellow in general.

Atlantic FM - "feel-good indie for drowning out the corporate drones" - what it says on the tin really. New Atlantis vibes - up-beat, jazzy, designed to make you feel better.

Radio Cheyenne - "music to awaken your inner space cowboy" - Akila City vibes at their finest. Country, blues and soft rock, very frontier-esque.

RADIONEON - "electronica for those neon-lit nights" - upbeat synth and punchy drums to vibe/dance/astral project/kill bad guys to. Some indie and some more mainstream tracks in here.

RADIONEON ASTRAL FM - "entrancing electronic beats" - made to fit with the air of the Astral Lounge, lots of trancey EDM and house.

Stargazer Radio - "melancholy music found in someone's ancestor's collection" - for when you just need to drift through space and ponder life's troubles. Sad vibes, with modern and old stuff.

Planet Pop! - "a mix of popular music from old earth" - only stuff released before Y2K here, contains lots of 80s in this one.

Planet Pop! 2K - "pop music from after the turn of the millennium" - a mix of dance and classic pop tracks released after Y2K. Tried to keep it space-themed but got carried away lol.

FM Voyager - "moog-ish music to drift in space to" - think 60s space music, and then multiply by 200. Not as many tracks on this one, probably the weirdest out of the lot.

Please let me know what you think!!

I've been so excited to share this I'd love to know if you have any favourites!

[rhetthammersmithhorror]

Folsom Prison Blues | Gil Trythall

Switched On Nashville—Country Moog | 1972

[haveyoulistenedtothisalbum-poll]

Tracklist:

Foggy Mountain Breakdown • Folsom Prison Blues • Last Date • Harper Valley P.T.A • Cattle Call • Gentle on my Mind • Wildwood Flower • Orange Blossom Special • Walking the Floor Over You • Little Green Apples • Yakety Moog

Spotify ♪ YouTube

[afpwestcoast]

Belasco Theater, LA, 12/8/23

I’m often asked why I go to so many Dolls shows. It’s a big question with a complicated answer, but a major factor is the crowds. Most of my closest friends and almost every cool person I know I met at a Dresden Dolls show, and this one continued the trend.

I met Dolly, who had actually responded to a general call on the Facebook group and sent me a birthday card in October. She regaled us with tales of the decade she spent traveling around the country by hopping trains.

We also met Natalie and Julia, a dynamic sister duo. Natalie is a Dolls fan but Julia was tagging along out of solidarity - sisterhood is strong. They were delightful, but Natalie has been saddled with club thumbs, a genetic defect that was common amongst European royalty due to inbreeding. Drawing conclusions from that is left as an exercise to the reader. The venue was larger (~1500) and less intimate (a barrier kept the crowd back from the stage) than the recent run of shows, but the band was better rehearsed and well rested and provided the extra energy needed to overcome these issues. I generally prefer my Dresden Dolls shows with a soupçon of chaos, but watching the band flex their performance chops with virtuosity was inspiring. Annotated Set List:

Good Day

Sex Changes

Gravity

Backstabber

My Alcoholic Friends

Shores of California - Brian said this was the first show they had played within the city limits of LA since 2008, so of course they had to roll this one out.

Mrs. O

Delilah (featuring Veronica Swift)

Welcome to the Internet (Bo Burnham cover)

There was a break in the set as Amanda warned that they were about to launch into a bunch of new songs and gave a lengthy explanation of how the Dresden Dolls are fundamentally a live band and need to work things out on stage. “The thing about playing these new songs is like they’re not quite ready, so if they suck a little bit know that we are going to continue to rehearse them and make them suck less.”

Then Brian explained that Amanda was nervous about playing the new songs and was delaying the inevitable by talking, which shamed her into proceeding into the new material, which has, in fact, gotten tighter and better over the past year. The new album is going to be fire.

Mister God - Despite Boyfriend in a Coma being officially dubbed Tom’s New Favorite Song in Orlando, I think this one is actually my new favorite.

Houdini - This is a close second in the New Favorite Song sweepstakes, which is a bit surprising since I typically prefer the bangers to the slower songs, but this one has power.

Whakenewha

Amsterdam (Jacques Brel cover) - Amanda headed up to the balcony for this one, as is tradition.

Another Christmas (Brian on guitar, Amanda on jingle bells) - An original Christmas song that is exactly as sad and depressing as you would expect. At this point there was a medical emergency in the crowd and the house lights came up as they took someone out in a wheelchair. The response from the security team, the band, and the crowd was stellar all around.

Boyfriend in a Coma - This is a “new” song that was actually written 20 years ago and recently resurrected for the new album. It was written about an old boyfriend who almost died, and, coincidentally, Amanda reconnected with him and is dating him again. But she dusted the song off BEFORE reconnecting, in a cosmic coincidence.

The Runner - This is essentially a run-down of Amanda’s dating history in song form.

The Nail featuring the new third member of the Dresden Dolls: Amanda’s new Moog synthesizer.

Coin-Operated Boy - Amanda paused after the first few bars to comment on the harsh transition from The Nail, which is slow and contemplative, and Coin-Op, which is … not.

War Pigs (Black Sabbath cover)

—

Half Jack - It’s traditional to do a long intro that starts minimalist and slowly builds to launch the song, but tonight Brian took it to the next level. After the show I told Amanda if they did a show that was just Half Jack with a 2hr intro I would be here for it. She said that they actually did that at one of the shows they opened for Panic at the Disco! because they were so fed up on that tour.

Girl Anachronism - The original set list had Sing as the closer but Amanda called an audible, which was a solid choice after the medical emergency had drained the energy from the room.

Photo Gallery:

Natalie is a goddamned delight. Despite her … nonstandard thumbs.

Delilah!

The creepy ghost of John Lennon welcomes you to the Internet.

Amsterdam

Dresden Dolls Gothic

What’s a Christmas song without jingle bells?

That’s a wrap!

[seriouslycromulent]

Labour Landslide But the Vote Split Everywhere

Phil’s video is a great rundown on most of the good and bad about yesterday’s election in the UK. I’m sharing it here because I feel like celebrating and I’m not even British! 

It’s just nice to see our cousins across the pond carve out an opportunity to keep fascism at bay, at least for the next 5 years. 

But it’s fair to say that I’m in a whirlpool of emotion because the negatives are tugging on my appreciation of the positives, just a tad. For example ...

Although I’m saddened by SNP’s huge losses and what that will mean for the  Scottish independence movement, I’m elated that there are now no Tories serving in Wales. [insert Nelson Muntz laugh here]

I’m disgusted that Badenoch, Braveman and Patel all kept their seats, although it was expected. Yet I’m happy as a clam that Rees-Moog, Mordaunt, and Truss all lost theirs. Couldn’t have happened to a better group of reprobates. 

Unfortunately, now that Farage is officially an MP, this means he’ll probably be in the news even more, all the while creating a Marjorie Taylor Greene-level spectacle of himself at every chance. 

I’m disappointed that the Lib Dems didn’t win enough seats to take up the role of the opposition party, but they now have 71 seats in the HoC -- more than they ever had. And the upside with the Green Party picking up seats is that they’ll now have more influence in debates and select committees. 

Yes, the odious Reform Party now has as many seats as the Greens. But on the plus side, the DUP lost seats in Northern Ireland and Sinn Fein is now the largest party there. 

Other than the obvious of Keir Starmer now as the new PM, we know that Rachel Reeves is set to become the UK’s first female chancellor. Angela Rayner is the new deputy PM, no surprise there. And David Lammy will now become the new foreign secretary. 

Granted, I could focus on the fact that the Tories still received 1 out of 3 votes despite spending the last 14 years destroying their country in the pursuit of unchecked greed and power, but I won’t. Because I’m choosing to focus on the sunshine, not the clouds for a few weeks. I think the British public have earned that joy, and I want to share it with them. 

Great job, cousins! Here’s to better and brighter days ahead. 

[devilsrecreation]

Some random incorrect Electric Mayhem quotes

Zoot: *at Robin* Uh…want a beer?

Floyd: He’s 10!

Zoot: I dunno! What am I supposed to do with him?!

Teeth: Heeeyyyy~

Sam: …..

Teeth: What’cha dooooin?

Sam: I’m busy.

Teeth: How busy would you say you are from 8 to 9?

Sam: 14!

Teeth: Sam, I’m no mathmatologist, but I’d say that’s a lot

Sam: *opening the door for Teeth* IT IS!

Piggy: Take. It. OFF.

Floyd: *wearing a shirt with an offensive pig joke* I. Would. Rather. Die.

Piggy: THEN YOU WILL DIIIIEEEE!!!

Floyd: *screaming*

Probably MMW

Teeth: Alright! Looks like the next country we’re playin’ in is Israel

Zoot: Never heard of it

Floyd: Zoot, you’re Jewish

Zoot: …..Oh yeah

Animal: Nenenenenenenenenenenene-

Nora: *whispering loudly* Animal, what are you doing?!

Animal: Stealth noise! Nenenenenenenenenenenene

Floyd: *laughs* Nenenenenenenenenenenene

Nora: Everyone, shut up! We’re going to get caught!

Literally all of the Mayhem (and Moog): Nenenenenenenenenenene

Constantine vs the Mayhem

Constantine: When I’m done with you, you won’t be able to see out of both eyes

Dr. Teeth: Congratulations, you are as effective as pollen.

Constantine: I MEAN I’m going to make you feel pain!

Janice: Um, meat already does that so-like….next

Constantine: You won’t be able to think straight!

Zoot: Try having ADHD.

Constantine: I’M GOING TO BASH YOUR HEAD INTO A WALL!

Lips: That already happens to me!

Floyd: C’mon man, be creative!

Constantine: I’M GONNA MAKE YOU WANT TO DIE!

Scooter: I’m part of Gen Z! You’re late to the party!

Constantine: WHAT INTIMIDATES YOU?!

Animal: EIGHTH GRADERS!

Floyd: We’re like one big happy family! I’m the dad and Janice is the mom-

Janice: Why am I the mom? Like, what gender roles are we pushing here?

Zoot: I know they’re probably thinking I’m like the son? but I’m not….I’ll be the gay emo cousin

Teeth: I’ll be the son! The hotshot who’s only dream is to be a star~

Animal: Out of jail uncle!

Lips: And I’m the sassy aunt…who talks sh/t about everyone

[honeymoos]

🍈🧠🦷🌀🌟🐠🍥🫀

mo/molly/moog ★ 24!! they/he ★ strawpage

🐛 about me!

hello hello! i’m molly or mo or moog! i love to collect toys/dolls & mcdonald’s memorabilia 🍔 i’m addicted to watching theme park ride povs/walk throughs & think way too much about shopping malls

💿 media!

movies: lord of the rings, batman forever, american psycho, no country for old men, when harry met sally, star wars, spiderverse, the batman, the lost boys, and more!

shows: star trek: the next generation, nana, avatar the last airbender, batman the animated series, ever after high, neon genesis evangelion, and more!

music: deftones, björk, the garden, ateez, weird al, bts, slater, duran duran, and lot lot more!

games: bioshock, undertale, the last of us, baldurs gate 3, guilty gear, fallout, & more

[dollarbin]

Dollar Bin #15:

Gordon Lightfoot's Summer Side of Life

Forget Dylan going electric; let's talk about when Gordon Lightfoot did it.

I said so early on in our quest through the Dollar Bin, but I'll repeat it here: Gordon Lightfoot is The Lord of the Dollar Bin. He dwells there and holds the title because he recorded a zillion albums in the 60's and 70's that people are too dumb to seize.

Why don't they get seized? Maybe it's his perm; or maybe it's his occasional corpulence or his often regrettable mustache: Gordon always used his album covers to show off his latest look, and I'm not sure that was the best call.

Consider the cover for Dream Street Rose. Gordon presents himself as the stepdad you keep a leery eye on, the mechanic you supervise, the dentist you keep your mouth shut for, the first guy to get bounced out of the bar. He sure doesn't look like someone you should invite onto your turntable. He might knock it over.

His male peers were either handsome and/or goofy enough to grace their covers (Bob Dylan is a handsome dude and a goof; Bruce Springsteen is freaking hot) or they were smart enough, most of the time, to focus their album covers on something other than their gangly looks (here's looking at you Neil Young!).

But don't be fooled by Gord's covers; every Lightfoot album, from the greatest hits collection Gord's Gold (for which he wears the most pleather of jackets) to Back Here On Earth (for which he sniffs a daisy, sensitivey) is a Dollar Bin steal. And Summer Side of Life is a Dollar Bin behemoth.

Summer Side of Life came out on the heels of what most Gordos (that's what you can call the most serious fans of Gordon, like me) consider his masterpiece, 1970's Sit Down Stranger (which was reissued almost immediately as If You Could Read My Mind). That record saw him do more than offer up one of the greatest songs ever written (that would be, of course, If You Could Read My Mind; and if you don't consider that song to be one of the greatest songs ever written, please, reader, read my mind: you are wrong.) 1970 also saw Lightfoot pivot up to Neil's own Reprise Records, and with the move you can hear him beginning to trade his humble Canadian penchant for simple folk-country production for the orchestration and grandeur one associates with "serious" 70's artists.

Take a listen to his expanded palate on Poor Little Allison. The guy who once lived off rice, beans and brewskies has ordered up some guac.

So, let's call Sit Down Stanger/IYCRMML his version of Bringing it All Back Home: new instruments come in, and there is even a whisper of drums in the mix, but he's not ready/allowed to leave his winning folky formula behind for good.

Summer Side of Life, recorded in late 1970, is where Gord puts his foot down and declares full revolution, complete with bayonets, cannons and intrigue; Summer Side of Life is therefore his Highway 61 Revisited. Is it as good as that? No. Nothing is! But Summer Side of Life is awesome enough for the analogy to (mostly) hold up.

Let's go song by song on this edition of the Dollar Bin, and thereby demonstrate that Gord is indeed gold.

Side 1.

The record opens with a reminder that Lightfoot likes to write about the weather. The sleigh bells in his classic Song for a Winter's Night take us out into the glistening snow; and of course he knows all about the Early Morning Rain. And so we are instantly comfortable and hooked by 10 Degrees and Getting Colder.

And the characters! By verse two I'm already anxious about the roving musician who's trying to get home to mother. Listen for the tambourine to come in, especially during the bridge. No one is playing the Moog or a sitar here, but Gord's already on track to redefine his signature sound.

And then we come to the second track, Miguel. Drop the needle immediately on Gord's passionate, stirring and straight-up lovey rewrite of Spanish is the Loving Tongue.

Was Gord reading All the Pretty Horses while he wrote this? Hell no; that book came out 20 years after this song. Rather, Cormac McCarthy must be a big deal Gordo. Feel free to skip the novel, says I. You can just listen to Miguel instead.

The third track, Go My Way, is classic Lightfoot: three minutes of note perfect confectionery. It's like eating cream puffs while drinking beer. They're good together!

And then there's the title track. The omnipresent Kenny Buttrey shows up in a big way on Summer Side of Life, reminding us that this is a Nashville Record. What doesn't good old Kenny play on from this era? Was he the only drummer in Nashville? His Wikipedia page must be as long as Chewbacca's. They're both in everything, and they are always driving the beat/spaceship. They even kinda look alike!

But the real jedi master on Summer Side of Life is Richard Haynes on bass. He sounds like Jaco Pastorius here, and that dude was probably about 6 years old at this point. Listen to Haynes riff above the melody rather than dwell passively below.

I love this track. Everything swells and sways. Gord was always too polite to write anything abrasive and reckless to compete with Like a Rolling Stone. But I'd argue songs like this one show he could write on an epic scale all the same. I'd be good with this song playing, alongside Carefree Highway, on giant speakers while my grandkids spread my ashes about in the backyard while cracking jokes about their crazy grandpa. Check that. I'll be stoked if that's what happens.

I suspect that the next track, Cotton Jenny, is why this record is not considered a masterpeice on par with IYCRMM. There's nothing wrong with the track - the arrangement is dense and complex and, when compared to what Dylan had done early that year to Little Sadie in a studio next door, the song is utterly masterful - but the melody falls into Gord's bubblegum category alongside other Lightfoot lightweights like Rainy Day People and Boss Man.

Perhaps it's because of Cotton Jenny's upbeat, sing-song riff that it was chosen as the only song from this record, other than the title track, to appear on Gord's Gold.

For anyone out there who doesn't own Lightfoot records and yet is, bizarrely, still reading this: Gord's Gold is your best first purchase. The Dollar Bin has plenty of copies, despite the fact that I routinely buy the record for my friends. I just feel like everyone deserves a copy.

I came of age listening to Gord's Gold. My buddy Eric and I would jubilantly declare our own bedtime long after midnight during our middle school sleepovers by blasting his dad's copy of disc 1. Lightfoot's trembling vibrato served our teenager idea of irony well when paired with our favorite song of that era, Dinosaur Jr's The Wagon.

Purberty was dropping our voices in its uniquely erratic fashion at that point so singing along with good old Gordon about the Ribbon of Darkness checked every box of hilarity we needed.

But we'd fall asleep long before Cotton Jenny ever came on, and whenever I did make it that far in Gord's Gold I always found the track skip worthy. It was too happy, too pop-infused, too sweet. So when my wife brought Summer Side of Life home from the thrift store for me 6 to 10 years ago, I was polite but not stoked. I already had the song Summer Side of Life on Gord's Gold, and none of the other titles looked promising. Plus Cotton Jenny was on it.

However, my wife, for reasons best known to her, loathes Gordon Lightfoot. So her gift was a very generous one, even it had cost a grand total 50 cents. So I played it. No one else in the family cared too much, but I was instantly ashamed of having passed Summer Side of Life by in the Dollar Bin for 20+ years.

Let's all pause for a moment and acknowledge my sainted wife. She isn't Dylan girlfriend material: she doesn't cook, sew or make flowers grow for me; rather she is the greatest human in the history of humans. And she bought me Summer Side of Life.

Back to our song by song meander:

Happily, after we make it through Cotton Jenny, Gordon ends Side 1 with one of his greatest and least appreciated songs. You won't find Talking in Your Sleep on Gord's Gold, or even on any of the subsequent and expanded "best of" packages that followed. But it's a better love song than Softly or Beautiful and it's a worthy successor to the best story of strained love this side of Blood on the Tracks, If You Could Read My Mind.

Enjoy the perfect picking, sway along with Buttery's driving murmur, reach out for the pulsing bass, and then, midway through, marvel at The Jordanaires' odd, yet perfect, backing vocals. Slow down, my friends. Slow down and listen to Gordon Lightfoot calling out to us, lending each of us some pure Dollar Bin beauty on this fine Friday.

Side 2!

We open with a bilingual piece of grace, Nous Vivons Ensemble. I love hearing English speaking artists sing in French, a language I cannot count past un du tua in. Think of Leonard Cohen crossing that surreal, trembling border in The Partisan, or Sandy Denny explaining Dylan to French people in Si Tu Dois Partir. Remember Mick Jagger busting out his grammar school knowledge of the language in Brussels in 73 while he struts and sweats and whoops. Best yet, think of James McNew mangling the language and probably the entire culture on A Plea for Tenderness.

Lightfoot, alternatively, clearly speaks French well enough to write a song in the language, then warble it over a hunting piano borrowed from the Bryter Layter sessions. Hey Gord: Je vous aime. Like, totally.

And then there's Same Old Loverman. Yes, Gordon Lightfoot wrote a song with that title and he sings it with a straight face. It's pure and perfect schmaltz, and I love every note. Again, listen to the bass! There are two separate and glorious lines of it side by side in the opening, then again in the bass solo at the 2 minute mark. Yes, this song has a bass solo, and that allows Gordon ample time to drop in on seven separate ladies midsong. All of them swoon.

I find it incomprehensible that Dylan, who is a huge Gordo himself, has never covered this track. My Famous Brother is probably standing up and shouting at this moment that Dylan did indeed cover Same Old Loverman in February, 1996 while touring Sweden on the Neverending Tour. If that's indeed the case, spend me a link Bro! I'll bet Bob sounds like he's singing about a Sane, Bold Lumberjack. I hope he plays Handy Dandy directly afterwards.

Redwood Hill finds us suddenly in Cajun country; Lightfoot sets the stage for much of the rest of Paul Simon's career here by successfully dipping a beautiful big toe in a foreign genre for one single song before abandoning that genre and moving on. If I was a Ragin' Cajun I'd call this cultural appropriation. But I'm not Ragin' or Cajun, so I'm into it.

Love and Maple Syrup should be as awkward as the title, and the transition between verses is a bit clunky, I guess, but otherwise this is classic hometown Lightfoot. People in Gordon's hometown don't just talk about the home team, which is still on fire. They also contemplate the laws of nature and line up to rob the forest of her wine; everyone longs to be understood.

Three different times in the track there's a slightly unhinged guitar piece that Gordon doubles with his voice. Keep in mind that this was recorded pretty much at the same moment as Moondance and Stephen Stills' paean to all things terrible, Love the One your With. In 1970 Stephen Still was just beginning his reign of harmonic terror and Van Morrison was still figuring out what music could be made with his voice. Meanwhile, Gordon was recording his sixth album. Five years later Van the Man would record the greatest jazz/pop live record of all time by any grumpy, anti-vaccing white dude, but in 1971 Gord was his Dad. And Stephen Stills forever trembles before them both, cowering.

Cabaret ends the record and is its oddest song. The track definitely is not Lightfoot's Desolation Row, so my Highway 61 analogy has fallen on hard times at this point. But the song's title is apropos: this is really a collection of unrelated side by side performances rather than a unified song. Belle and Sebastian's future horn section jumps in and out early on; the guitar work initially doodles without any direction. It all sounds odd, especially for someone as finicky about arrangements as Lightfoot.

But then, mid-track, we find ourselves in a totally unrelated road song. We're on our way to Reno from north On-tar-I-0. And that's a long drive! I checked Google Maps and they refuse to even calculate the distance or drive time. But the bass is once again bubbling conversationally and we fade out of this wonderful record wishing we were taking an even longer drive with good old Gord.

Rest in peace, Gordon Lightfoot. Thank you for forever lording over the Dollar Bin; you made timeless beauty for us all to treasure.

[sinceileftyoublog]

SILY's Top Albums of 2023

BY JORDAN MAINZER

Another year of settling into "the new normal" in the music world, for better or for worse, still brought us great records. The underground NYC hip hop scene burst with creativity. Rock and Roll Hall of Famers reinvented old songs. Stalwarts of experimental music, contemporary jazz, and modern-day blues released their career bests. Even archivists had their day. Below are 16 great albums released last year and 6 more honorable mentions no less worthy of inclusion--I just didn't have time to write about them.

Armand Hammer - We Buy Diabetic Test Strips (Fat Possum)

It's all in the title: on their sixth album, billy woods and E L U C I D navigate through a society where not only is shit that should be free, expensive, but a secondhand market encourages hustlers to make a profit. Amidst capitalist corruption and individualism, the threat of an AI takeover and close calls getting caught with drugs, both emcees face the bleakness while occasionally imagining a better world. As always, the victories are small, but mighty: good weed ("Woke Up And Asked Siri How I'm Gonna Die"), morally righteous laundromat owners ("When It Doesn't Start With A Kiss"), the freedom to bask in schadenfreude ("Niggardly (Blocked Call)"). And yes, it takes a lot for two slow lurching wordsmiths to rise above production from the likes of JPEGMAFIA, DJ Haram, and EL-P, always-inspired samples ranging from E-40 to Sun Ra and Japanese rock band Ghost, and features from Pink Siifu, Junglepussy, and Moor Mother. But they deftly connect the dots from centuries ago to now, presenting societal dysfunction as a core component of our country and world. "George Washington's heart a frozen river, boy / Opps in the backwoods, slave teeth in the mouth when he say ni**a," woods raps, as if to shock you out of complacency and make you numb to the horrors at the same time.

Arooj Aftab, Vijay Iyer, & Shahzad Ismaily - Love In Exile (Verve)

It's hard to believe that Love In Exile, the first collaboration between singer Arooj Aftab, legendary jazz pianist Vijay Iyer, and multi-instrumentalist Shahzad Ismaily, was recorded live with minimal overdubs. Then again, it's clear there's something special brewing within the trio, who first performed together in 2018. That is, the way in which each performer enters and exits and weaves within another is as natural as it is stunning. On Love In Exile, Aftab sings in Urdu--the sound of her words mattering just as much if not more than their meaning--and Iyer plays piano and electronics, Ismaily bass and Moog. The result is an interplay between beauty and dissonance, minimalism and swells of noise, intimacy and grandiosity. Iyer's piano seems like it's increasingly sure of itself on opener "To Remain/To Return" as Aftab's smoky voice resembles a soulful, mournful reed. Ismaily's bass is slow-lurching and rounded throughout, the steady presence that only so much ripples on songs like "Eye of the Endless" as Aftab and Iyer provide contrast in timbre. Love In Exile is the type of album born out of a moment; yet, it gives seemingly endless pathways in which to get lost.

Arthur Russell - Picture of Bunny Rabbit (Audika)

Throughout Picture of Bunny Rabbit, Arthur Russell’s voice is as much of an instrument as his bowed cello, fading in and out on “Not Checking Up”, “Telling No On”, and “Very Reason”. The mysterious aura of Russell comes from both not knowing what’s out there and, on the music we do know exists, being unable to tell what he’s saying or what instruments he’s using. A rubbery whooshing pervades “The Boy With a Smile” and “In The Light of a Miracle”. The 8-minute title track sees dissonant cello disintegrating in real time, unfurling like tape over feedback squalls to the point where it sounds like a MIDI version of a guitar solo. At the same time, Russell always knew when to surface. The harmonica on “The Boy With a Smile” creates a rootsy tactility, the controlled chaos of his string playing yielding free percussion. Russell’s vocals rapidly shuffle on “In The Light of a Miracle”, though they’re as clear as ever, contrasting his sticky cello, plainly borrowing rhythms from Indian classical music.

Read the rest of our review here.

billy woods & Kenny Segal - Maps (BackwoodzStudioz)

The prolific billy woods’ second album with beat mastermind Kenny Segal is centered around touring, inspired by the idea that the road–or the lack of home–is, in itself, home. On Maps, places where people reside are as constantly changing as the landscapes that pass as you’re on the highway. It’s the perfect fodder for woods’ neuroses and pessimism, the low thoughts that occur when you have too much time on your hands but still can’t make sense of your surroundings. He’s constantly searching for stimuli–weed, food, drinks–to distract himself from the human condition. Like the titular “Houdini”, Woods escapes, even if temporarily.

Read the rest of our review of Maps here.

Bob Dylan - Shadow Kingdom (Columbia)

It wasn't just Taylor Swift rerecording their own catalog in 2023. As part of the soundtrack to Alma Har'el's 2021 film Shadow Kingdom: The Early Songs of Bob Dylan, the Bard himself gave us his new versions of old tracks, mostly his Dylan's 60s heyday, save for a new instrumental. Notably, it's his Dylan's record with a band with no drums or percussion, and it's a mystery who played on it, as there are no official credits. It's also his first album of new studio recordings since 2020 opus Rough and Rowdy Ways, so naturally, he leads off with a reflective "When I Paint My Masterpiece". In general, his arrangements are more gentle, from the swirling harmonicas and trailing strums of "Queen Jane Aproximately" to the bluesy, tempo-changing "I'll Be Your Baby Tonight". "Tombstone Blues" comes across like a spooky tale, slowed down, as opposed to the ramshackle stream of consciousness of the original, while the eerie and mournful "What Was It You Wanted" is a revelatory adaptation of the late 80's classic. And "Just Like Tom Thumb's Blues" shuffles along with a calypso groove, almost as if it's a tribute to the late Jimmy Buffett. He may not be doing it to regain the rights to his own songs, but on Shadow Kingdom, Dylan asserts that there's value in revisiting old friends.

Drive-By Truckers - The Complete Dirty South (New West)

The Complete Dirty South is us an opportunity to listen with 2023 ears to a 2004 album that’s truer than ever. The rich still get away with doing illegal things (“Where the Devil Don’t Stay”), increasingly intense weather patterns still devastate the poorest of communities (“Tornadoes”), and government austerity policies still force people to work longer hours, for lower pay (the incendiary “Putting People on the Moon”.) When Patterson Hood sings, “Motherfucker in the White House said a change was comin’ round / But I’m workin’ at the Walmart, Mary Alice in the ground,” it’s the much more realistic, downtrodden version of “Meet the new boss, same as the old boss,” a sharpshooting lyricist’s analysis of the devastating consequences of incrementalism, let alone inaction.

Read our preview of two Drive-By Truckers solo shows from December.

GOLD DIME - No More Blue Skies (No-Gold)

With No More Blue Skies, Andrya Ambro, the former half of No Wave-inspired Brooklyn indie rock duo Talk Normal has delivered the most distilled statement of her artistry to date. Combining her classical training and ethnomusicological studies as a drummer with the hammering intensity of her live performance, the album is a examination of contrast, an exercise in presenting ambiguous questions and smashing them to see if any answers lie within.

Read our review of GOLD DIME's career-best.

jaimie branch - Fly or Die Fly or Die Fly or Die (​(​world war​)​) (International Anthem)

Though the late trumpeter and composer jaimie branch’s third album Fly or Die Fly or Die Fly or Die ((world war)) is a final statement, it’s even more effective as an eternal one. It begins with keyboards that sound like church organs, an eerily somber sonic manifestation of irrevocability. As Chad Taylor’s rolling drums enter, branch gives us one of her trademark trumpet blares, as if to announce, “I’m here.” She wasn’t one to spend much more time announcing her presence, though–the track segues into an Afro-Latin style jam, clacking percussion and horns in line with Lester St. Louis’ nervy bowed cello. ((world war)) from then on spends most of its runtime just the way branch liked it, in a groove, with some breaks along the way to remind us of the urgency of the moment.

Read our review of Fly or Die Fly or Die Fly or Die ((world war)).

Jason Isbell & the 400 Unit - Weathervanes (Southeastern/Thirty Tigers)

Over the past few years, Jason Isbell’s had a lot of time to think. Pandemic and lockdown-induced isolation made us all spend a bit more time between our ears, and for Isbell, it was his experience on set for Martin Scorsese’s Killers of the Flower Moon that yielded even more alone time. These spaces in between catalyzed the creation of Weathervanes. Like Isbell’s best records, Weathervanes tackles many areas of life, from getting older and grappling with regret and depression to existing in an increasingly fraught and vulnerable world. What makes it succeed most is the extent to which he relied on his collaborators to make it, purportedly inspired by watching none other than Scorsese seek out the opinions of others while filming Flower Moon.

Read our preview of Isbell & the 400 Unit's show in Joliet last March.

JPEGMAFIA & Danny Brown - Scaring the Hoes (AWAL)

JPEGMAFIA's called SCARING THE HOES a “practice album,” made with the SP-404–no Pro Tools–after learning it for a year. It certainly has that loose quality you’d think, alongside the exact amount of chaos you’d expect from the debut full-length join-up from him and Danny Brown. Of course, Peggy finds kinship in the deep cuts and the underground, from the underappreciated Bun B to old soul and funk, Japanese pop, and gospel. The samples and production are inspired. At the same time, Peggy knows he’s your favorite Twitter follow’s favorite rapper, so the title itself, referring to something a Very Online Man would say who thinks his taste is too esoteric for women, is tongue-in-cheek. “How the fuck we supposed to make money of this shit?” Peggy asks on the title track. “You wanna be an MC? What the fuck you think, it’s 1993?” The only thing better than effortless tempo changes, switches on a dime from maximalism to dreamy instrumentation, is self-awareness of his own idiosyncrasies. Bonus points for “God Loves You”, which juxtaposes a guttural, spirited gospel sample with the filthiest lyrics on the album.

Read our preview of Pitchfork Music Festival 2023, containing JPEGMAFIA, here.

Matana Roberts - Coin Coin Chapter Five: In The Garden... (Constellation)

On the 5th of their 12 planned Coin Coin albums, saxophone master Matana Roberts tells the story of an ancestor who died after complications from a self-inflicted abortion. Though it's a tragic story, Roberts reclaims the narrative and casts it as part of a wider tale of institutional racism, sexism, and classism. Songs with spoken word are interspersed throughout instrumental expressions of sounds as tangible as tin whistle and as abstract as synth, structures at times free and at times delving even into rock, let alone jazz bops. Each detail of story included is clearly intentional, meant to paint a picture of Roberts' ancestor while portraying their story as not unique. Roberts' spoken word--closer to voice acting, even--is incredible, as they repeat in varying levels of genuineness, "Well, they didn't know I was electric, alive, spirited, fired and free / My spirit overshadowing, my dreams to bombastic / My eyes too sparkling, my laughter too true." Their saxophone is expressive, yet mournful, providing motifs of lamentation and hope at once. On the penultimate "for they do not know", Roberts layers and repeats the album's main refrain, "My name is your name, our name is their name / We are named / We remember, they forget," as if to emphasize the prevalence of their ancestor's story throughout history. And closer "...ain't i...your mystery is our history" juxtaposes Western and African traditions, pointedly demonstrating that the evils brought upon their ancestor are rooted in colonialism and Western hegemony rather than a standalone calamity.

Robert Finley - Black Bayou (Easy Eye Sound)

Seven years into his improbable comeback, Robert Finley views his role as a singer and entertainer as twofold: meeting the audience at the heart while simultaneously giving them advice, telling them the barebones truth when other authority figures won’t. On Black Bayou, he reckons with ideas of homesickness and loneliness, lust and love, selflessness and salvation. Buoyed by longtime collaborator Dan Auerbach of The Black Keys, Finley wrote all of the songs in the studio, and his familiarity with his supporting cast of musicians resulted in songs that were both efficiently recorded and emotionally acute. Kenny Brown’s guitar winces with longing on “Livin’ Out A Suitcase” as Finley’s tired of traveling. On “Waste Of Time”, a song that sees Finley taking pride in rural living even if it means missing out on opportunities provided by cities, the buzz-saw guitars and Jeffrey Clemens’ clattering percussion yield a perfect maximalism to go along with Finley’s claims that, yes, there’s still a lot to digest right outside your doorstep.

Read our interview with Finley about Black Bayou here.

Sunny War - Anarchist Gospel (New West)

Sunny War battles self-destruction throughout Anarchist Gospel; in the lead-up to its release, she spoke about her music representing a battle between that side of herself and the one trying to make things better. On “New Day”, she uses the language of addiction to wax on love, hurt, and obsession: “Believing in magic can be tragic / I’m love’s junkie, I’m love’s addict.” One of the record’s true standouts is “I Got No Fight”, where pained guitars and screaming organs exemplify Sunny’s desire for the days to end, depression that buzzes like a fly in her ear. On the gorgeous country tune “His Love”, she sings of an unhealthy relationship, “His love fades, my love grows,” and the timbres of her voice and the instruments similarly diverge, her lurking deep vocal register contrasting the spryness of the backing vocals, guitars, and pattering drums.

Read our review of Anarchist Gospel.

Various Artists - Tell Everybody! (21st Century Juke Joint Blues From Easy Eye Sound) (Easy Eye Sound)

For the better part of the past decade, Dan Auerbach's Easy Eye Sound recording studio and record label has showcased some of the best in contemporary blues music, from various regions across the country and spanning sub-genres. Tell Everybody!, the label's latest compilation, makes the case that a current crop of songwriters, vocalists, and instrumentalists are making essential wartime-style juke joint blues numbers. It's comprised of alternate versions of songs from past Easy Eye Sound albums (Jimmy "Duck" Holmes' version of "Catfish Blues", Leo Bud Welch's glistening "Don't Let the Devil Ride"), posthumously released offerings from idiosyncratic legends like James Gang/Pacific Gas & Electric/All Saved Freak Band guitarist Glenn Schwartz, and strong statements from up and comers like Detroit Dobro-drummer duo Moonrisers, Chicago's Gabe Carter, and Kentucky picker Nat Myers. Auerbach even finds room for new songs from himself and The Black Keys, who sound better than they have in years by embracing the drippy psychedelia of their early material on "No Lovin'". And performing the title track (and baring teeth on the cover) is Robert Finley, whose daughter Christy Johnson delivers smooth gospel backing vocals to contrast Auerbach and Kenny Brown's searing guitars, the multi-generational sound of past, present, and future.

Wednesday - Rat Saw God (Dead Oceans)

“Hot Rotten Grass Smell”, the opening track to Wednesday's incredible Rat Saw God, immediately juxtaposes country guitars with shoegaze squall. Songwriter/vocalist/guitarist Karly Hartzman references Smog’s “The Well” before turning inward to a bleak vision: “Your closet froze after you left / Except the people who took your shirts / Closed off your door with yellow tape / Saw myself dead at the end of a staircase.” The song ends with a sudden cut to field recordings of peepers. Heartbreak, anxiety, life, death, both the natural environment and the concrete depression of the South. It’s all there for Hartzman’s poetry, and no moment is too small or too ordinary for worship.

Read our review of Rat Saw God.

Willie Nelson - I Don't Know A Thing About Love: The Songs of Harlan Howard (Legacy)

Part of me thinks living legend Willie Nelson would rather continue paying tribute to his forebears than do anything else. The late Harlan Howard essentially gave Nelson his first break after hearing some original tunes, signing him to the Pamper publishing imprint in the early 60's. Of course, last year, Nelson would go on to celebrate a 90th birthday and be inducted into the Rock and Roll Hall of Fame, while Howard, who passed away in 2002, is still mostly known behind the scenes, writing songs that would become immortalized by Buck Owens, Waylon Jennings, Ray Charles, and Brenda Lee. So leave it to Nelson to present Howard's best songs, with minimal arrangements, to emphasize the brilliance of his songwriting, the devastating simplicity of lines like "I'm about as helpless as a leaf in a gale." Nelson leads a stellar backing band through blues stomps ("Excuse Me (I Think I've Got A Heartache)", a screaming version of "Busted") and plaintive and empathetic waltzes ("Life Turned Her That Way"), exemplifying a three chords and the truth philosophy appropriate for all moods and experiences.

Honorable Mentions:

Bob Dylan - The Bootleg Series, Vol. 17: Fragments - Time Out Of Mind Sessions 1996-1997 (Columbia/Legacy)

The Clientele - I Am Not There Anymore (Merge)

Daniel Bachman - When The Roses Come Again (Three Lobed)

Danny Brown - Quaranta (Warp)

Gazelle Twin - Black Dog (Invada)

Lonnie Holley - Oh Me Oh My (Jagjaguwar)

[trevlad-sounds]

Tuesday 05 December Mixtape 402 “Speak to the Paracosm EXCLUSIVE”

Multi Genre, Downtempo, Ambient, Electroacoustic, Experimental Tuesdays & Saturdays. Support the artists and labels. Don't forget to tip so future shows can bloom. https://linktr.ee/trevlad

Trevlad Sounds-Welcome in you wonderful listener 00:00

6WX_O-Speak to the dead 00:31 https://6wxo.bandcamp.com/album/hill-country

Node-Thin Air 06:48 https://dinrecords.bandcamp.com/album/node-2-din44

preston.outatime-Focusing Out 14:38 https://prestonoutatime.bandcamp.com/album/mirror-radius

Duolant-Havaddit 19:24 https://duolant.bandcamp.com/album/wf-77-above-inlets

Sulk Rooms-Soul Mother End Credits 23:42 https://thomasragsdalemusic.bandcamp.com/album/music-from-the-film-soul-mother

Skytree-Drumlin Fields 26:01 https://skytree.bandcamp.com/album/harmonic-residents

Hello Meteor-Thermoplastic 30:41 https://hellometeor.bandcamp.com/album/community-broadcasting-winter-office-hours

Glenn Fallows, Mark Treffel-Moogs Over Jupiter 33:22 https://glennfallowsmarktreffel.bandcamp.com/album/the-globeflower-masters-vol-2

36-Desire 37:40 https://3six.bandcamp.com/album/cold-ecstasy

Den Osynliga Manteln-PLANETVISKAREN 41:50 https://denosynligamanteln-cis.bandcamp.com/album/under-gr-n-himmel

OVRSCN-III 51:11 https://overscan.bandcamp.com/album/time-erases-memory

NUUK-Traill_Ø 53:45 https://moatun7.bandcamp.com/album/tunfjordur

Holy Hive-Celeste 57:08 https://holyhivemusic.bandcamp.com/album/big-crown-vaults-vol-3-holy-hive

Hyperlink Dream Sync-Gold Dust Station 1:00:29 https://hyperlinkdreamsync.bandcamp.com/album/hyperlink-dream-sync

Lord Of The Isles, Ellen Renton-My Noise Is Nothing 1:04:01 https://lordoftheisles.bandcamp.com/album/my-noise-is-nothing

Pabellón Sintético-Analog Dream 1:08:48 https://pabellonsintetico.bandcamp.com/album/pabell-n-sint-tico

Mind over MIDI-overflaten 1:10:11 https://lontanoseries.bandcamp.com/album/sensitiv

The Central Office of Information-Barium Cloud 1:12:15 https://coi-woodfordhalse.bandcamp.com/album/wf-19-private-issue-synthetic-music-2010-2020

Common Dream-Dags 1:15:54 https://hoganordrekords.bandcamp.com/album/hnr050-bats-dags

Tatsuro Murakami-Swimming in the Dark 1:21:57 https://whitelabrecs.bandcamp.com/album/an-imaginary-autumn

Under Allt-3-Heads 1:26:53 https://underallt.bandcamp.com/album/3

Darren McClure-Charmonia 1:32:57 https://darrenmcclure.bandcamp.com/album/on-opposites

Remote Guest List-Paracosm 1:42:30 https://kahvicollective.bandcamp.com/album/lonely-nights

jarguna-Wind of Sutra 1:45:36 https://projektrecords.bandcamp.com/album/sogni-di-sutra-nei-venti

Trevlad Sounds-Until the bat skull horn calls us back again tomorrow. 1:52:17

[videostak]

fav records i own

africa/brass vol 2 by john coltrane

trans europe express by kraftwerk

pelican west by haircut 100

dancers of bali by anak agung gde mandera

whammy by the b52s

country moog by gil trythall

bolero, la valse, & pavane for a dead princess by maurica ravel conducted by charles munch

mr hands by herbie hancock

im sure therees others th im too lazy to look at them all rn tho -_-