actsofvandalism:

The Elements - All my best friends are dead

One of my favourite bands, Skeletal Family (i wrote about them here), recorded in 1981 the Elementary LP under their first band name, The Elements.

In my opinion, it is a hell of an album. So if you desire to listen to more songs:

so strange ; stranger in town ; enjoy yourself ; someone ; if looks could kill ; have you got the time ; running backwards ; both feet on the ground

-Sofia

naizindagi-nayajeevan:

“Militürk” // Fehlfarben // 1980

An image of page 429 of the book "Germany in Transit: Nation and Migration, 1955-2005"

Page 429 of “Germany in Transit: Nation and Migration, 1955-2005” // edited by Deniz Göktürk, David Gramling, Anton Kaes // 2007

(This is a favourite song of mine and there are a handful of quite different versions of it — under the title “Militürk” as well as “Kebabträume” — that I like equally. More about the song and its different recorded versions is here.)

(via naizindagi-nayajeevan-deactivat)

africaisdonesuffering:

As a kid I always loved Hiphop. As far as I can remember at age 3, I would bump Public enemy and Mc Hammer all day and be in a state of utter euphoria. I considered myself a “Hiphop Head”. Growing up in Ghana there were lots of other “Hiphop head” kids like me. We would gather around Ghetto Blasters listening to songs memorizing lyrics, Rewinding Cassettes with Pencils, just loving Hiphop for days. We would also listen to Highlife, reggae, funk, R and B and other stuff that our parents played. In school we had to sing hymns and shit every morning. A great majority of kids sang in the school choir. Music was our Lives.

There were dudes like Gyedu Blay Ambuley , Talking Drum who had somehow started rapping with and “African” twist to it. Slowly that kind of vibe was beginning to grip a lot of kids. I remember the first time me and my boys saw talking drum. We knew one of the dudes Rapping, he was an older kid who lived in the flats right across our neighbourhood. They were like Pharcyde on African beats talking about African shit. They were all sorts of awesomeness. There was also an emcee named Azigiza Jnr. Now he started it all. He was one of the first emcees to straight spit in Twi with swag. His hit “Abena” can be argued as the first ever Hiplife track as we know Hiplife to be today. And then came Reggie Rockstone. Now this dude changed our childhood forever. I remember when I first saw his video for his hit song “keep your eyes on the road” with the lines “do I make myself clear? Yeah. Do I make myself clear?? Yeah. Then clap your hands like there was a million mosquitoes in here. Jump like you was some crazy Akranteɛ!”. I mean, as a kid in the 6th grade this was just phenomenal. Like that was the most African line ever. Something we could relate to easily. This was OUR Sound.

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aladinvain:

The Misunderstood - Children of the Sun

History lesson time! The Misunderstood are perhaps the greatest forgotten band of the 60s. They helped influence much of the Psychedelic rock movement. Hailing from Riverside, CA, the band moved to London in 1966. Their manager was John Peel, who considered them to be one of the greatest bands of all time. They were also the pioneers of the light show. By simply plugging in a modified light bulb into the output jack of guitar amps, they created the light show. 

Sadly, for all the positives, when lead singer Rick Brown was drafted in 1966, the story was tragically cut short. These guys were destined for greatness, but their future took an unfortunate twist of fate.

http://en.wikipedia.org/wiki/The_Misunderstood

(Source: crowncitysomething)

leeunderpass:

Stolen Moments: Another slice of soundtrack music for music libraries that I have been working on today, a slow, brooding fairly dark track, that is coming along nicely.

Now all I need is a film to soundtrack.  Much as I enjoy writing on spec for libraries, it would be amazing to actually write to pictures for a specific film, instead of writing speculative music to be picked out of a catalogue by someone I will never see.

Anyone who needs original music, for any project, no matter what the budget or timeframe, get in touch with me.  underpass@nerdshack.com

(Source: underpass.org.uk)

Cumbias En Moog - Cumbia De Sal

This is the good stuff.

Have a nice weekend

Takeshi Terauchi - Sado Okesa

Not quite Surf, not quite orthodox Trad, here comes Takeshi Terauchi (and the Bunnys) with an electric take on a folk song named Sado Okesa.

The song’s got a shakuhachi flute and an organ with what sounds a lot like a Leslie cabinet. DAYSF has wanked on about psycho-acoustics before, and while the appeal may be gimmicky these two instruments sound really good and even better together.

Sado Okesa features on Ace/Kent’s Nippon Guitars (WIKD297) compo along with highlights of Tekashi Terauchi’s career and excellent liner notes on the man and the whole Eleki genre. There are interesting parallels to be made with Rautalanka, and DAYSF might get around to it someday.

Little Ann - Deep Shadows

Downer Soul always goes down a treat here at DAYSF headquarters. And that’s hardly surprising, really. Just like an electric current flows between points that have a difference in electric potential, Soul moves from those who have it to those who don’t.

Today we celebrate the unjustly neglected Little Ann. NPR has a nice article on this very track, with Soulful Detroit filling in the gaps once again. Deep Shadows is available on the posthumous album of the same name released on Timmion Records (TRLP-004), home of the Soul Investigators.

Tona Ohama - My Time

It’s been said before but it bears repeating: Coldwave is Synthpop. Well… it’s synthpop having a bad day.

And that’s exactly what Tona Walt Ohama delivers here: a pretty sombre meditation on procrastination and mortality delivered in flawless FM synthesis and 12-bit drum machine samples.

My Time appears on the excellent Minimal Wave Tapes vol. 1 compo from Stones Throw (STH2223).

Inezz Foxx - Crossing Over the Bridge

When I started DAYSF lo! these many months ago, I made a commitment to post every Monday, Wednesday and Friday. What was implicit was that I was committing to this schedule for this year 2012 with an option to re-up for 2013.

Well, the year is winding down. There’s not even three full months left and it seems to me I’ve covered most of the bases I wanted to cover in the first place. There’s one theme though I haven’t written as much about as I planned to. Here it is, concisely summarised:

Appreciating music isn’t a competitive sport.

It sounds obvious, it’s rational, it’s pragmatic. It even feels right, for what it’s worth. And yet, if all you ever read was this blog and the million others like it, you’d never know it.

In a perverse, egotistic way digging music is cool because you get to like things only a very few do. It shouldn’t matter. Quality should be the only thing that matters. And still, one of the ground rules around here is that a YouTube video has to have fewer than 25,000 views to be a candidate for a blog post.

Let’s consider the talented Miss Foxx. She recorded a handful LPs and a number of Soul singles on her own and with brother Charlie, most notably for Stax/Volt. Crossing Over the Bridge features on the 1973 album Inez Foxx at Memphis alongside Let Me Down Easy. At this time, the former has ~5,300 views and the latter ~157,000. Both are equally gorgeous slabs of Soul and are actually pretty similar. And yet, somehow being popular makes one song less worthy. There’s a lot to unpack there.

Hipster Mojo is bad mojo.