David Axelrod - Anthology II

You start with Terminator X, with a tape you bought in Quebec City in 1992 and hid the entire trip home from your grandparents, and work within a year backwards to "Grandmaster Flash On The Wheels Of Steel". From there, you jog sideways to Grand Masters Kaz and Theodore on the "Wild Style" soundtrack. You sprint forward to chase everyone on "Masters of the 1s & 2s", and you end up with Coldcut, Invisibl Scratch Piklz, DJ Shadow, which takes you into Solesides/Quannum, Deltron 3030, and the guy whose sound underpins much of it: David Axelrod.

Soul-funk and jazz-funk were, when I was a kid, fucking jokes, the realm of bare-chested hipsters with Fu Manchus and perms, stinking of cologne and dusted with cocaine. But to view both genres through that stereotype is like saying Judaism is all space lasers and blood libels; it just ain't true. They're black as fuk, harder than hell, proto-hip hop that just grooved so hard. And David Axelrod's production fingerprints were all over it. I thought I'd written about him before, but it sure seems not to be the case. In addition to his solo work, most of which has been reissued by Now-Again over the past ten years, he produced so many standout records for Capitol in the 60s and 70s. Lou Rawls, Cannonball and Nat Adderly, Stan Kenton, Willie Tee; these, along with his solo work, make up a body of work that still isn't fully acknowledged by any but the deeper crate diggers.

Alright, I've waxed poetic enough. I like David Axelrod. I like his stuff a lot. It seems like a real miss that so many of his records, even the inconsistent ones, remain out of print. This anthology came out in the UK in 2002, I'm guessing it was to ride off the attention brought by his self-titled record on Mo'Wax that came out the year before. This one has a pair of stone-cold Lou Rawls classics, two from Cannonball Adderly, two from actor David McCallum that are pretty great, and, of course, a bunch of cuts from Axelrod's three Capitol releases. Listen for yourself. I won't fault you for unbuttoning your shirt down to your navel and pouring some brown liquor.

Discogs

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various artists - Sides 1-4

Allow the cheat on this one; I am not the original ripper. although I have faithfully owned a copy of this for almost as long as it's been out. You can get a download or physical copy here from the very good folks at Skin Graft, and you probably should.

It's time to share my two cents on Steve Albini. So you get two posts in a day.

When this double 7" came out in 1995, I knew Steve Albini mostly from his engineering and his criticism. I was aware he had done a band with a couple guys from Naked Raygun in the 80s, and a band with a pair of fellas from Texas in the early 90s, but THIS was Shellac Number Seven, and my intro to them musically was a cover of Bon Scott-era AC/DC. Which kinda hurt my head, but also I dug in a huge way, even though I never got into AC/DC with the same enthusiasm as a bunch of the dudes I went to high school with. Anyway: cool intro.

But I worked backwards as time moved forward, as Steve's fingerprints continued to leave marks all over my taste. I bought a copy of "The Rich Man's Eight-Track Tape" at the same time I bought "Terraform", all the while discovering his recordings of Pussy Galore, Boss Hog, the goddamned Jesus Lizard. I had heard rumors that Fugazi went out to Chicago to record with Steve, only for his recording of "In On The Kill Taker" to get memory holed in favor of a Don Zientara engineered/Ted Nicely produced record. You knew I spent at least a dozen years trying to pin down a copy before a kind friend finally scored me a 4th generation dub. By the time "1000 Hurts" came out, I was a bona-fide fan, absorbing whatever wit and insight I could find in the pre-internet days from yellowing Forced Exposure reviews, and, in the instances where he'd own up to it, treating an Albini credit on a record as much a Seal of Quality as the Dischord logo or the Impulse! livery.

I discovered he could be a real prick, and sometimes cruel in the service of humor, but who amongst us isn't when we're 19 or 25 or 33, opinionated, sharing our thoughts publicly in a way so easily referenced. But more often than not, he was right. He, like all the best of us, held, demonstrated, and demanded a strong moral compass. He worked hard not to get in the way of other people's art, but, rather, tried to elevate them in the ways he knew how. His life was a great example that you could lead an ethical and intentional life, that you could also acknowledge your previous failures with grace and accountability. There are a few of these influences in my life; I rarely met them, but I appreciate the example they set, one that I strive to follow.

I've been discussing the loss of leaders a lot recently. People around me continually lament the death of those who become our North Stars, our cultural compasses. "Who will fill their shoes?" they ask. I'm sure as shit not going to record a "Magnolia Electric Co." or "24-Hour Revenge Therapy", but I cqn live an ethical life and help raise others up. This world can be shit a lot of the time, but it doesn't have to be that way. Thanks to Steve Albini for reminding me of that every single time his work crossed my path.

Discogs

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various artists - Mojo Presents: I ❤ NY Punk!

Clear definitions meant a lot more when I was younger. A younger Ape would say, "hey, the ain't punk!" "These bands are from New York City!" "That wasn't part of the CBGB scene!" And I wouldn't have been wrong. Bad Brains and Stimulators probably hew closer to hardcore, Television, Blondie, the Contoritions aren't your typical "three chords and a holler" types. The Real Kids (Boston), Destroy All Monsters (Detroit), and Bad Brains (D.C.) all made their names outside of NYC. The New York Dolls, Mink Deville, and Suicide were Mercer Street and Max's Kansas City players long before "Punk" was a magazine, much less a genre. 

But I've grown into more of a "let people enjoy things"-type of person in my dotage. I don't have time to quibble; I just want to listen to the Dictators, the Heartbreakers, Jayne County, Suicide. If I do have a gripe, it's that a lot of these cuts are drawn from inferior live tracks; cheers to fair amount of ROIR representation, but I wanna hear the 1977 single version of "Rip Her To Shreds", not a version broadcast on TV in 2004. I suppose that's the price you pay to get that iconic Debbie Harry photo as a cover, and a collection of real solid songs from the first wave.

Discogs

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various artists - Music For TV Dinners: The '60s

Back during COVID Year One, when I was just barely backing off the throttle of a post a day during the revival of this here blog, I made an ill-fated, poorly-executed decision to write about and share the entire Scamp Records catalog. Scamp was a Caroline imprint, executed in the mid to late 90s to reissue a bunch of EMI's easy listening catalog and exploit the lounge revival. I'd been coming across a few of them for super cheap, and thought "here's a fun topic to revisit."

(A brief explanation for my younger readers: somewhere in the early 90s, Gen X'ers rediscovered tiki bars, fruity drinks, and Esquivel in their quest to move on from R.E.M. and legitimize kitsch and camp. Some of it was thirsty as hell, but it opened the door to appreciate the fun parts of 50s and early 60s exotica culture. And there are definitely parts still worth appreciating.)

At any rate, even though I shit the bed following through (click the Scamp tag to see how well I did), I did continue acquiring Scamp titles, to the point where I'm just missing one release and one promo. I've almost done it, kind reader. I've bought a gaggle of CDs that have been out of print almost since I graduated high school. It's a high point in a low life. Some people share pictures of their kids; I'm stoked to share records that have been out of print for almost 30 years.

So here's "Music For TV Dinners: The '60s". It's library music from the incredibly deep Barry Music Co. catalog. The publishing was all held under EMI Music Publishing, hence it's available to be mined for this comp. Maybe you didn't know you needed a record of music that all sounds like it was the soundtrack to late 60s British television. Let me assure you, dear friend: you absolutely DO need this music.

Discogs

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various artists - I Give You The Head Of Corporate Rock And Roll Vol. I

If you're like me, and an interest in public radio intersects with a love of punk rock, then this one's for you, pally.

Recorded live on air at KPFK 90.7 in Los Angeles, "I Give You The Head Of Corporate Rock And Roll Vol. I" is a snapshot of the West Coast's edgier left of the dial bands, just as "Nevermind" was starting to really break through.to 14-year-olds like me. Not that I would have heard this, residing, as I did, on the literal side of a mountain in Moonshine Country, Virginia.

But I probably would have enjoyed this immensely in 1992. Calamity Jane, who I've written about here before, provides a cut. Long Gone John's taste is well represented, with Oiler, the Humpers, and Trash Can School all chiming in. Kyle Ryan would probably be stoked to see Anus the Menace, Bulimia Banquet, and Sandy Duncan's Eye contributing cuts. And operating at the center of this fuckin' sick Venn diagram are Distorted Pony and Mudwimin, making circus music for little monkeys like yours truly. There's even a Man Is The Bastard connection, as former PHC bandmate Bob Durkee's band Shoeface can also be found here.

L.A. seems like it probably was fun in 1992.

Discogs

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various artists - Punch Drunk III

I apparently own three of the five Punch Drunk samplers, which, as I acknowledge it, might sound like a complaint, but is more a reflection of just how much fucking music I own. It truly boggles the mind to

1. Try to remember when I grabbed these, and
2. Try to figure out why I held onto them.

My taste was so less refined in 2002 when this came out, and all these bands that Bruce Roehrs championed at the time wear barely on my radar, Electric Frankenstein and Angelic Upstarts notwithstanding. 22 years on, however, and I'm a lot more stoked listening to this front to back. I'm now a monster fan of that Riot City/Pax/No Future sound that TKO proudly carried the banner for, so this is just a treat for me.

To steal from the cover, this is definitely better than a kick in the head.

Discogs

Click here to download.