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if you haven’t caught it yet, here’s the film clip for “coach” recently completed by bob jarvis aka zeal, who has now earnt his PhD in photocopying:

coach comes from the changes EP, released last november. buy it or don’t.

also – there are, all of a sudden, a bunch of places online where you can hear new faux pas songs, works in progress, remixes, things like that:

- 3 new songs at myspace.com/iamfauxpas
- a remix of mine now appearing at myspace.com/olloollo (which comes from their recently released remix ep)
- the rad istanbul blog undomondo recently posted an edit i made of 70s kraut stoners agitation free… alongside some footage of them rolling in egyptian dunes. big thanks, considering that its only through undomondo that i found out about the track in the first place.

a few random things…

over at whothehell.net, blink and you would have missed jerry’s post on the digital millenium copyright act or, more accurately, about his blog’s first-hand experience of a takedown notice from the RIAA – they were asked to take down a pnau remix. never mind that they were actually sent the file by pnau’s label:

My post is just one of the many examples how this law is being misused. It’s true that the mp3, being hosted with Dreamhost a US company, falls under US court of law jurisdiction. But hosting companies are so fearful of being sued by labels, movie studios and huge bands like Metallica and U2 that as soon as they received a takedown notice they restrict access to the disputed file without even doing background checks to the validity of the notices…

One of the sites has example of how to write a counter takedown notice, so I did a simple cut and paste, filled in the details and sent it back not to Dreamhost but to antipiracy@riaa.com, letting them know that they are in no position to serve this notice in the first place because they don’t even represent the copyright owner of the song. And then I waited, to see if I’m going to be sued for blogging an mp3 I was given permission to. A few days passed, and then I received an email forward from Dreamhost, the RIAA has rescinded their notice and the file has been put back up online. It is now available again. whothehell.net 1, RIAA 0.

full article.

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in the comment boxes for the above post you’ll find dj donna summer – aka jason forrest – weighing in with gusto… this is a great opportunity for me to, first, point you towards the birthday party berlin blog being healthily maintained and furnished with pop-core type stuff by forrest and his homies over in berlin, and second, clue you in on the fact that he’s recently made all the songs on his myspace profile available for download. that includes 3 tracks from what is close to my favourite album of all time “shamelessly exciting.” go over there and do some downloading – i know you’ll do the right thing and buy the album eventually from sonig, cos of its undeniable brilliance.

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i generally only use the street press to wipe my ass with (sorry dudes, for the vitriol and for the visual!) but there’s a great interview with cool hunter sia in this week’s inpress if you are around melbourne town. i love anthony carew’s (rrr broadcaster and international pop evangelist) subtle technique – which often takes the form of a kind of sly character assassination that you don’t catch the first 2 or 3 times you read the article:

The New York-based 32-year-old was born in Adelaide, raised in a new-age, beyond-Bohemian household that seems to have ingrained in her, from the very start, the need to be self-consciously kooky. A conversation with Furler feels like an interaction with someone who’s been told, from when they were very young, how ‘crazy’ they are; like you’re privy to a kind of performance. You’re warned to expect anything, but all you end up with are quirks, smirks, and mid-interview trips to the toilet.

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finally, tv on the radio do something that i can relate to:

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and finally finally – and i fear this is going to become more regular, at least until the novelty of me mentioning it wears off (for me) – but despite evidence to the contrary i won’t be appearing with Never tRuSt Hippie at the wall of the death concert in, um, мурманск russia this coming saturday night. but just remember, as i always say… Значит твоё место в СТЕНЕ СМЕРТИ!!!

following on from my recent revelation that i’d accidentally become some kind of hub for moody blues internet piracy – with 40,000 downloads in 6 weeks of a recent edit i uploaded (lets just say between you and me that none of the mp3s i post here ever generate close to that traffic) – i thought i’d redress the balance by posting a few of my favourite moody blues youtube clips. they are more than just “nights in white satin” and they are more than just a daggy not-quite-psychedelic 60s band that became a horrendous 80s dinosaur band. that said, it is true that “nights in white satin” is their best song, and that they are a daggy not-quite-psychedelic 60s band that became a horrendous 80s dinosaur band.

i listened to the moody blues a lot when i was a kid because of my dad. i think actually that we were both exposed to the moody blues at the same time in our childhoods – he, an impressionable kid when “nights in white satin” was on the airwaves the first time, me about the same age when he started to bring home the remastered CDs in the late 80s.

lets start with the obvious, in case you’re drawing blanks on the moody blues completely. after a flop debut album, the moody blues recruited a symphony orchestra to make a rock version of dvorak’s new world symphony (their label’s idea). the dvorak connection was lost, they ended up making orchestral psychedelic pop songs, and the album “days of future passed” spawned the mega-hit “nights in white satin.” here’s a promo clip for the original 1967 single edit, shot at least partially in paris. i get chills.

Video: The Moody Blues – Nights in White Satin (1967)

they scaled back the orchestral overtones for the following album “in search of the lost chord” and instead upped the hippie factor. yes, its a concept album about trying to find the ‘lost chord’ – i don’t want to ruin the ending but, they do find it, and it turns out to be ‘om.’ despite this vomit-inducing revelation there’s much pop greatness on this record. here they are on the bbc show colour me pop, miming the opening track on the record “ride my see-saw.” its introduced here, as on the record, with a poem.

Video: The Moody Blues – Ride My See-Saw (1968)

gosh they are a handsome bunch. in particular, check out the smooth dance moves of the moustachioed ray thomas, the band’s flutist. and justin hayward busts out a mean guitar solo. the moody blues shared around the songwriting duties in a fairly democratic fashion. never mind the fact that its generally the honey-eyed sickly-sweet ballads of justin hayward that pull focus, its the esoteric contributions from the less pop-idol members of the band that make their records intriguing. check this tribute to timothy leary, also from “in search of the lost chord”, which incidentally is my favourite song featuring my own name in the lyrics:

Video: The Moody Blues – Legend of a Mind (1968)

“a question of balance”, the fourth record, opens with an absolute belter. thats what craig huggins would probably refer to it as. i find this track really curious actually, because its possibly the most forthright and commanding pop song that they’d written to this point – its the moody blues equivalent of ball-tearing, frenzied acoustic strumming, intense orchestral flourishes, and justin hayward getting, like, totally in your face about the world, like:

Why do we never get an answer
When were knocking at the door?
With a thousand million questions
About hate and death and war.

Its where we stop and look around us
There is nothing that we need.
In a world of persecution
That is burning in its greed.

fuck yeah! but the song just dies about half way through, basically they cut and paste a syrupy ballad into its middle. its like taking the heart of a puppy and transplanting it into a dragon – the dragon is weakened, and a perfectly good puppy (that if left alone would probably have been very cute and been doted on by many handsome ladies) is left for dead. you’ll know what i’m talking about – feel free to skip the middle bit:

Video: The Moody Blues – Question (1970)

i could really go on forever here, but go forth and enjoy yourself with the moodies, there’s plenty more surprises for you to uncover in the first four or five albums from the moody catalogue. plenty more stuff on youtube. there are drum breaks to be had for those who are that way inclined. also, one of the moody’s was one of the first mellotron reps and pioneered the use of the instrument live and on these records.

but i leave you with a part of their legacy that unfortunately can’t be denied, and its that they just went off in the 80s, not like pat benatar going off or metallica going off, but like milk going off. innumerable lineup changes and an unhealthy obsession with 80s synths and production techniques led the moodies down a dark path i’m afraid. like jethro tull, basically everything they released in the late 70s and through the 80s sounds like it was written by a team of trained monkeys and recorded in a septic tank. there is one exception to this – an album called “long distance voyager” released in 1981 (the year of my birth – coincidence? i think not) thats probably best described as a guilty pleasure. its a rarity though in that its an early 80s album that doesn’t sound like dick.

but look, the descent into 80s pop balladry and 90s dinosaur band mentality is their true history and i’ll share a bit of it now – the rather hideous “i know you’re out there somewhere” from 1988:

Video: The Moody Blues – I Know You’re Out There Somewhere (1988)

moody blues i love you.

sailor were a UK band from the 70s and 80s.

here are just some reasons why this 2 minute live performance of “jacaranda” from 1976 is awesome:

- sailor were a completely nautically themed band. they sang songs about the sea, they played synthesisers which on-stage they built into a contraption they called the ‘Nickelodeon’ (meant to resemble part of a ship), and of course on-stage, and on record covers, they wore stripey shirts and sailors hats.

- the dude is playing a harp

- the dude playing the harp has a tattoo of an anchor on his cheek

all this and the song is incredible. it was originally the b-side to a single of theirs called “girls, girls, girls” – admittedly a lot of their pop singles were pretty disposable, but there are some absolute gem instrumentals, including this track which i think may have been some kind of cult hit in germany.

click here to watch a couple of more clips from this 1976 performance in southend, and click here to learn more about sailor and their nickolodeon.

sailor.

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