various artists - A Dirty Shame (Original Motion Picture Soundtrack)

I'd had this idea once that I would gather all the soundtracks from John Waters' filmography, and post them here, along with my thoughts on the film and sounds. Clearly, I've not followed through until now, and I don't think I'm going to do it, but better to disclose, I suppose.

This is, at this late date, the final feature from the Baltimore auteur, a development that makes me sadder every single day. While a lot of folks don't think highly of "A Dirty Shame", I like it just fine. I love the ongoing images of Tracy Ullman manning the register at a High's Dairy Store, Johnny Knoxville hanging out on Harford Road, Selma Blair flouncing about northeast Baltimore. By the time this came out, I had a few friends who'd bought houses out where this was shot. I still lived downtown, so I took joy in calling them neutersm teasing them for finding housing outside the Beltway.

"He who fucks nuns/will later join the church," the saying goes. And the author types it up in a comfy suburban apartment, overlooking a pool turning green in the fall's light.

The soundtrack reflects Mssr. Waters' taste to a T; a mix of rockabilly, jump blues, rhythm & blues, novelty cuts, and early rock 'n' roll. James Intveld's score gets represented with "Let's Go Sexin'"; fine advice, if I've ever heard it. It's all enough to make a Balmer boy miss home, to lust for a RoFo 2-piece and a roll, a trip to Sherri's Showbar, some late night hangs Holiday House.

Discogs

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various artists - Slaves Of New York (Original Motion Picture Soundtrack)

What do you think it was that lead to pay a penny (plus $1.75 S&H!) to bring this home? I've never seen the Merchant-Ivory film to which this provides the soundtrack. The only artist here I love is Iggy, and I didn't need to snag this to have "Fall In Love With Me". I don't stan P.I.L. or Boy George, and Maxi Priest & Ziggy Marley are low on my list of reggae artists I'm interested in.

That leaves a weird mix of songs that made for a nice surprise. "Buffalo Stance" broughr back memories of my first Walkman, playing the hell out of Neneh Cherry and Public Enemy and DJ Jazzy Jeff & the Fresh Prince before I needed to use deodorant regularly. "Good Life"? Only one of the all-timer house cuts, from one of the Belleville Three. There's a pair of Arto Lindsay tracks here, both derived from the second Ambitious Lovers record. With guest spots from Vernon Reid and John Zorn, these are a duo of pretty awesome mid-80s downtown tracks, the sort of which you'd NEVER see on a major label release these days. The whole thing wraps up with a cut from French new wavers Les Rita Mitsouko, a curiousity the likes of which I found most welcome.

That Dalmatian on the cover looks like it aims to misbehave. What a naughty dog.

Discogs

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various artists - Northcore: The Polar Scene Compilation

Just your run of the mill Swedish punk and hardcore comp from 30 years ago, split between bands I knew already and bands I didn't.until I laid my paws on this eighth release from the esteemed Burning Heart Records.

Yeah, so I know Refused all too well, Randy, Fireside, Doughnuts, and Abhinanda. I feel varying levels of interest in them. But to discover Drift Apart or Breach here was well worth the $2 I think I spent earlier this year. Somebody like Shredhead isn't what I would seek out, what with their proto-nu metal groove thrash, but it's not bad. It's the kind of scene curiousity that existed a lot back in the 90s and seems to have died away as the internet consumes us all.

Discogs

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various artists - Rap-A-Lot Greatest Hits

This comp doesn't fuck around.

When it says "Greatest Hits" on the cover, it's not telling any lies. It's Houston hip-hop history, writ large, leading off with their first sons, Geto Boys. All the heavy hitters are here: UGK, Scarface, Juvenile, 5th Ward Boyz, Z-Ro. Every single cut present shows how crucial RAL was in showcasing hip-hop outside the industry strongholds of NYC & LA in the 80s and 90s. It's weird to me to see that Rap-A-Lot hasn't put out new music in nearly a decade; they were omnipresent throughout the establishment and growth of my musical taste. When you encounter that sort of tastemaker, you just kind of assume they're always going to be there, tipping you off to something new and incredible.

It's also hard to believe that I picked this up for a buck after it'd been sitting on the shelf in one of my regular haunts for a few weeks. I was glad to give it a new home.

Discogs

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various artists - New York Ear And Eye Control

Well, it's another stupid Monday. And far be it for me to mislead you, my valued reader (there are dozens of us!), so early in the new week into believing you're getting the 1966 ESP Disc landmark free jazz recording. No, you're getting the spiritual successor, released a quarter century later by the nascent Matador Records.

This one doesn't feature Albert Ayler or Don Cherry. Instead, you receive the likes of Unsane, Cop Shoot Cop, Royal Trux, and Railroad Jerk, along with more experimental sounds from Steve Fitch, Borbetomagus, Circle X, and OWT. This ultimately reads like a late-period Homestead release, which makes sense, since Cosloy probably conceived it in his last days running that joint.

It took me roughly (counts on fingers) 28 years from the first time I heard this to actually buy a copy, probably because I spent my 20s thinking Unsane was the only band here worth a shit, my 30s chasing different comps, and a fair portion of my 40s just looking for steady work. Like adult acne, some issues take a long time to clear up. 

Discogs

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various artists - Voices N°2 - Auchardcore Punk Compilation

I have no clue how I got hold of this. I've never been much of a crust collector, and Auch is such a tiny commune in southwestern France. It'd be like someone not only pulled together a comp of ska bands from Mount Vernon, WA. And yet...

This is the second of three "Voices" compilations springing from the Gers Valley, a rural area known as the largest producer of foie gras in France. Is that the reason Auch was able to turn out Auchardcore? What sounds small-town kids create in their local bubbles will never not be interesting to me, even if it's taking place in a language foreign to me.

A note: this is missing the last track on the comp, Death Buring's "The Gates of Kthulu". Despite it appearing on both the track listing and the Discogs page, my copy, factory pressed and otherwise pristine, was missing this cut. A shame; I'll always geek out to a Lovecraftian crust jam.

Discogs 

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various artists - How Soon Is Now? (Mojo Presents 15 Tracks Of Modern Independent Music...)

This is all I want from any free-with-purchase compilation. There's some old (the Fall, Lush), some new (Hooton Tennis Club, Let's Eat Grandma), some borrowed (Ian William Craig), and some blue (Destroyer). It's a marriage of the familiar and the unfamiliar; a little reference to something to pick up on Bandcamp Friday. Toss in some old colleagues from the hardcore scene (White Lung) and back home in Baltimore (Beach House) and, bah Gawd, this is a heck of a stew to sample, even eight years on.

Discogs

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various artists - Take Your Medicine::A Heavy Dose Of Sonic Overload

I do a fair amount of my writing on Sundays while I'm doing laujndry adn avoiding more focus-intensive chores. The trade-off here is that Mrs. Mummy plays one of her numerous YouTube playlists, comprised of the outer edges of international popular music. It pushes me back to the familiar; not that I don't love NewJeans or whatever Mexican pop princess she's playing, but I does force me consider what I'm going to share, and why.

Take this 1996 compulation from Boston's Wonderdrug Records. I was familiar with a few of the names on this comp when I snagged it online for a $1 a few months ago: Scissorfight, Slughog, and Honkeyball, to name a few. I knew the label itself was of the same area, temporally and geographically, as Big Wheel Recreation and Tortuga Recordings, although they covered a different piece of the heavy music world. This is more stoner rock/desert rock/acid punk than I listened to back then. While most of these bands wouldn't be out of place on an Eyehategod or Nebula bill, I'm still not sure it holds my interest so far after the fact as bands that came out on AmRep or Man's Ruin during the same time.

Discogs

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various artists - Reggae Chartbusters Volume Four

So this is where the series gets interesting.

Trojan didn't release a fourth volume of "Reggae Chartbusters" back in 1972 or 1973, opting instead for continuing the "Club Reggae" series and kicking off "Trojan's Greatest Hits". That didn't keep Trojan from surveying from 1971 to 1973 in this 2009 release.

You see where JA reggae and UK reggae are diverging during this period. There are a pair of Bob Marley & the Wailers tracks on this (leftovers from their pre-Island output) and a Dennis Brown cut, but that's it for roots reggae here. The rest of is that pop reggae ilk that was pretty safe for English folks in the early 70s, but was out of step with the soon-to-be dominant sound coming out of Jamaica.

None of that is to imply this is bad, to be clear. There's music from Dandy Livingston, Joe Higgs, Toots Hibbert, Desmond Dekker; all heavyweights. But the tell here is the presence of Judge Dread's "Big Seven". I love his schtick, but his appearance maintains the theme. This was a series made for white audiences, with a minimum of nasty Rastafari or politics. Groups like Greyhound and Blue Haze wouldn't otherwise stack up to the likes of Sound Dimension or the Supersonics.

It's still pretty good, tho. Better than a sharp poke in the eye, to be sure.

Discogs

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various artists - CMJ New Music Monthly Volume 25: September 1995

I have been debating when to write about this, what it means to me. Posting a few days before my 47th birthday seems as apropos as any.

As for what to say...well, I've written and deleted about 2,000 words so far. Awfully verbose for an otherwise terse typist, but there's a lot of feeling wrapped up in this freebie from the third year of CMJ New Music Monthly giveaways. It was, indeed, my introduction to Letters to Cleo and Ben Folds Five. That pair of 90s alternative mainstays were key bonding points between the missus and I during our early courting. Urge Overkill and Cracker were getting regular airplay on WHFS, along with Big Audio Dynamite. I'll admit: even at this late date, I still have fond memories of Hagfish's "Stamp", one of the best songs from 1995 about cunnilingus. Even cuts from Folk Implosion and S.C.O.T.S. are stuck in my head 29 years later.

This one's important for track 9. My upbringing exposed me to showtunes, soul music, and country, with a smattering of contemporary pop/rock. But jazz was something I just never encountered until that day in late summer 1995 that I picked up this issue of CMJ. Hearing the second part of "A Love Supreme" was like a lightning bolt from heaven. From those first notes plucked by Jimmy Garrison, I was hooked. I've written a few times about John Coltrane and what his music means to me, Well, this is the Rosetta Stone. This is the thing that unlocked so much; my obsession with Coltrane, my love of free jazz and the avant-garde, my introduction to the vast catalog of Impulse! Records.

Discogs tells me I currently own five copies of "A Love Supreme": cassette and vinyl copies from the mid-80s on MCA Impulse!, a vinyl pressing from 1995, the 2002 Deluxe Edition on 2xCD, and my most recent purchase: the 3xCD "Complete Masters" from 2015. Honestly, that number feels a bit low; I feel like I have to have at least another two CD versions kicking around, and there's a reel to reel that I've been sniffing around about for the past six months. I have a problem; whatever...it's my version of a mid-life crisis.

Anyway, there's Malfunkshun on this, too.

Discogs

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various artists - Total Blam Blam! (A Brilliant Batch Of Bowie-Inspired Rockers)

This is the platonic ideal of any dollar bin purchase. There were zero expectations going into this one. Hell, I didn't recognize a single name amongst the 16 bands appearing herein. This seems more like an unsigned band comp than it does a "Bowie-inspired" collection. And viewed through that prism (listened to through those headphones?), this is pretty good. I wouldn't be bummed out at all to encounter any of these folks as the second of four bands on a Thursday night.

Not that I'm out on Thursday nights, listening to garage rock or punk glam along with 30-50 other locals.

Anyway, this is a much better comp than I would have expected from the likes of Classic Rock Magazine, the Mojo for boomers who nod sagely when they hear a band from their youth sold their catalog to Hipgnosis.

(I'm just mad that Maximum Rock 'n' Roll hasn't been in print in years.)

Discogs

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