Woebot
Well-known member
has anyone heard these? there's rumour they sound powerfully good. better than the original vinyl? i bought my copy of tago mago in a record store in an underground station in vienna in 1989 (aged 18). taking it on board was probably THE pivotal moment in the development of my musical agenda. that sounds pretentious, so what...
nights spliffing endlessly to tago mago. mushroom.
rececntly, pursuant my la monte young fetish (bit of a digression that maybe?) the velvets edged can off the number one spot. quite why on the face of it i do not know. one has to listen to the velvets with a bit of imagination, with can WOOOOMPH, it hits you. its completely undeniably. itd be quite easy to argue that EVERYTHING came from can.
in fact i reckon i got into funk and jazz funk AFTER getting hooked on the can riddim. i remember, and this recurs wierdly in my head like a mantra, a remark made by some wire journalist (i think hopey glass, whoever he/she is) to the effect that such and such a piece of music could never appeal to him as he was a "can fan and jazzophobe". i've never shaken that phrase out of my head. tuning into resonance fm the other day on the way back from the airport i heard "halleluwah", man i was pulverised, rocked to the core, i pulled up at the house and just sat there in the dark for 15 minutes as it steamrolled to a close.
and yet theyre so ubiquitous now we almost take them for granted. like the fookin air we breathe. discovering those spoon records in the early nineties, alongside the rave explosion, well it was mind-altering, paradigm-shifting for young nobs like me.
i think the packaging of them of quite exquisite, i love the thick curved-edged jewel cases and the layout. however the artwork reproduction came in for a little criticism (from rob young in the wire). i was on the inside track on this one and have it from the horses mouth, so to speak, that the design company were handed the scans used by the record company (spoon, mute i dunno) and did their very best with them.
we actually have a czukay signed up to dissensus (delusions of grandeur soon to be dashed to pieces, is it mike czukay from sacramento..?)
nights spliffing endlessly to tago mago. mushroom.
rececntly, pursuant my la monte young fetish (bit of a digression that maybe?) the velvets edged can off the number one spot. quite why on the face of it i do not know. one has to listen to the velvets with a bit of imagination, with can WOOOOMPH, it hits you. its completely undeniably. itd be quite easy to argue that EVERYTHING came from can.
in fact i reckon i got into funk and jazz funk AFTER getting hooked on the can riddim. i remember, and this recurs wierdly in my head like a mantra, a remark made by some wire journalist (i think hopey glass, whoever he/she is) to the effect that such and such a piece of music could never appeal to him as he was a "can fan and jazzophobe". i've never shaken that phrase out of my head. tuning into resonance fm the other day on the way back from the airport i heard "halleluwah", man i was pulverised, rocked to the core, i pulled up at the house and just sat there in the dark for 15 minutes as it steamrolled to a close.
and yet theyre so ubiquitous now we almost take them for granted. like the fookin air we breathe. discovering those spoon records in the early nineties, alongside the rave explosion, well it was mind-altering, paradigm-shifting for young nobs like me.
i think the packaging of them of quite exquisite, i love the thick curved-edged jewel cases and the layout. however the artwork reproduction came in for a little criticism (from rob young in the wire). i was on the inside track on this one and have it from the horses mouth, so to speak, that the design company were handed the scans used by the record company (spoon, mute i dunno) and did their very best with them.
we actually have a czukay signed up to dissensus (delusions of grandeur soon to be dashed to pieces, is it mike czukay from sacramento..?)