Like a rat in a cage / pulling minimum wage

Here are some more songs (almost) as they played today:

LCD Soundsys­temNew York I Love You (DFA): in which Mur­phy and Goldswor­thy issue the first tru­ly great song of 2007. And if these is any doubt that they are the best rock’n’roll band in the US of A right now, this, and the accom­pa­ny­ing album, should, by all rights put that to rest. It’s star­ing them in the face, as they moan about col­laps­ing sales (22% down on last year now – sheeeit), and the Amer­i­cans don’t even know it. The song, the lyrics, the per­for­mance, and that fuck­ing great bounce back ¾ of the way through, bel­low clas­sic.

Isaac HayesI Can’t Turn Around (Hot But­tered Soul): one of those songs you need to revis­it every now and then, if only to re-iter­ate to ones self how much house / tech­no are a big­ger part of the grand tra­di­tion of black rhyth­mic music going back to Lead­bel­ly and W.C Handy. It’s a bloody great song too…

Echo & The Bun­ny­menAll That Jazz (Koro­va): I like E&TBM when they are at their most stri­dent – and this is stri­dent on steroids. Slic­ing gui­tar over stac­ca­to toms

Human ResourceDom­i­na­tor (Joey Betram mix…of course) (R&S): I’m big­ger and bold­er and rougher and tougher. I didn’t real­ly think I’d be smil­ing in a Bali­nese gar­den to the sound of wail­ing rave fif­teen years lat­er, but here I am. There is noth­ing like a roar­ing hoover loop in the sun­shine: wan­na kiss myself / wan­na kiss myself

Eric B & RakimMy Melody (Mar­ley Marl 808 Remix) (mp3): I found this on the net some­where a few weeks ago, it being a mutant radio only remix, with the kitchen sink thrown in, done by Mar­ley a cou­ple of decades ago (some­body sug­gest­ed that this may be on the extend­ed ver­sion of the Paid in Full album (which I don’t have), but I don’t think so, as this is a good thir­ty sec­onds longer).

Arthur Rus­sellSee My Broth­er He’s Jumpin’ Out (let’s go Swim­ming #1) (Audi­ka): from the album of unre­leased mate­r­i­al released in 2006, a dubbed out re-work­ing of the clas­sic Lets Go Swim­ming, sound­ing for all the world like Arthur work­ing out with The Junk­yard Band

Faze ActionIn The Trees (Carl Craig C2 Remix #1) : yes it sounds like Carl, very Ango­la (the sec­ond half), in that mea­sured mid tem­po way, almost a slow grind, that also feels like parts of The Detroit Exper­i­ment album (now that was a mas­ter­piece), with the melan­choly mood­i­ness of the orig­i­nal strings laid over the top and climb­ing into the mix very sub­tly, and organ­i­cal­ly. How does this man do it?

Blue Mag­ic Look Me Up (Atco): I like the cute intro on this pop­py Nor­man Har­ris pro­duc­tion from one of Philly’s finest sev­en­ties vocal groups, although for a moment it begins to feel like one of the less­er Spin­ners’ hits from the same era. It is pop after all, and slight­ly more light­weight than many of the oth­er tracks from this group but it com­plete­ly redeems itself towards the mid­dle when it breaks down to a per­cus­sion fest, and then the swelling MFSB strings come rotat­ing into the mix, lay­ered with soft brass and a lit­tle, I think, elec­tric piano. Bliss.

Mike ClarkeLet Your Love (Charles Spencer mix) (Third Ear): the line between house and tech­no is not only a hard one to define, it’s also a point­less one. As this record so neat­ly illus­trates, I don’t know if this track could be exclu­sive­ly claimed by either genre. I found this tucked towards the end of the Detroit Beat­down Remixed album, which I’ve played a lot over the past months. I’d nev­er real­ly heard much Mike Clark apart from an EP of dis­co re-edits I’d bought some­where a while back. He’s one of a swag of less­er play­ers from motor city and this song real­ly crept up on me which sur­prised as it’s, on first lis­ten, a lit­tle face­less, and sounds like the sound form­less loop­ing sub dis­co that has plagued Chi-town in recent years. But that’s the joy of music, it’s always the one you least expect…

Big YouthHit The Road Jack (Tro­jan): with a killer bass line that Ray Charles could nev­er have imag­ined in his most inven­tive (or indeed chem­i­cal­ly induced) moments. Twist­ed Jamaican ver­sions of things like this are a par­tic­u­lar fetish of mine, and I dig the way he drops into What The World. I can thank Paul Weller for this, I found it on his Under The Influ­ence col­lec­tion

Cather­ine MillerHunchin’ All Night (Heav­en­ly Star …via Sussed)I’d nev­er heard this until I found it on the recent Ian Dewhirst com­plied Deep Dis­co Cul­ture Vol 1, a fab­u­lous (you can use words like that for dis­co) col­lec­tion of obscure as phuck tracks from the gold­en era of humanoid dance­floor anthems (before the machines tru­ly kicked in). This is one odd record, it real­ly is, addic­tive & dirty (hunchin’ being a by-word for, you know, with lines like hard times / so sore / baby, ain’t gonna give you no more); and mixed (I think) by Patrick Adams (the cred­its are vague on this) in a spacey (both in terms of the space in the mix and the actu­al cos­mic-ness of the sound pro­duced) way, albeit with addic­tive­ly haunt­ing real strings, and a mid tem­po, almost post Dis­co, groove.

WireMan­nequin (Har­vest): tell me / why don’t you tell me…per­haps the per­fect punk sin­gle, from the per­fect punk album, from the per­fect punk band. In the spir­it of Pink Flag, I’ll keep this brief.

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