The Wolfgang Press Goes to Kansas

Well that was a little unnerving.

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Uh Ohh-a Ohh-a! Video Kills Bruce Wooley and the Camera Club

I posted a Bappi Lahiri song the other day that borrowed the famous “ohh-a ohh-as” from The Buggles’ Video Killed the Radio Star.

To balance that out, here’s a version of Video Killed the Radio star, from Bruce Woolley and the Camera Club, which doesn’t  contain any “ohh-a ohh-as” at all.

Woolley’s version of the song, which he co-wrote, predated the much more famous Buggles version. The album it’s from, English Garden, is stuffed with great songs. I would call it a forgotten masterpiece, but most people didn’t know about it when it came out, either.

There used to be a bunch of videos up on Youtube showing Bruce and his band performing some of his best songs, featuring a bespectacled keyboard player whose fame went on to eclipse both Bruce and The Buggles: Thomas Dolby.

Some more tracks from Woolley:

Oh, and here, for good measure, are The Buggles doing their version of Video Killed the Radio Star.

Jimmy Jimmy, Jimmy, Jimmy Jimmy

While we’re still talking Bappi Lahiri, here’s what’s probably his most famous song, Jimmy Jimmy Aaja, which of course MIA sampled (covered? recreated?) in her song Jimmy.

Speaking of Jimmies, here are The Undertones, doing their completely unrelated song “Jimmy Jimmy.”

Ohh-ah Ohh-ah! Bappi Lahiri Borrows from the Buggles

Speaking of Bappi Lahiri, which we were doing yesterday, here’s a song of his that borrows a little something something from Video Killed the Radio Star. But you’ll have to admit that the finished product bears rather little resemblance to anything the Buggles ever produced.

Everybody Dance With Bap-Bap-Bappi

Muscial director Bappi Lahiri, Bollywood’s greatest magpie, throws in everything from electro to 60s garage punk into this little number from 1987, featuring what is probably the world’s loudest tape recorder.

CONCEPT SUPER CONCEPT.

Kissing a Prog: Robert John Godfrey’s Fall of Hyperion

I don’t know anything about this crazy prog extravaganza from 1974, except that I started listening to it and … I think I sort of love it.

Well, ok, I found a few things online about the album, and the one odd factoid that stood out for me was that the guy playing guitar on the album was a very young James Honeyman Scott, whom you may recall was later in a little  band called The Pretenders. Pretty much none of his distinctive later style is evident on this album, though, which is actually pretty light on guitar overall.

The Monks Monk Out on German Television

Well, after all that Meredith Monk, let’s have some other Monks. As in The Monks, in some amazing footage from German television in 1966.  (I think this is the show that became Beat Club.)

As you’ve no doubt noticed, these dudes actually shaved divots into their hair in order to look like monks. That’s commitment.

More Monks. You’ll have to excuse the interminable bilingual introduction to the first one.

There’s more live footage of The Monks floating around on Youtube as well; it’s all great.

The Meredith Monk Party Continues

Some more Meredith Monk. I posted this on Man Boobz the other day, in response to an MRA dodohead who was going on about how “female” composers — he put the word “female” in quotes — were all terribly conformist.

Meredith Monk Time

This is seriously my favorite thing in the world right now. This is a part — well, two parts, I think — of a long piece of Monk’s called Dolmen Music, available on an album of the same name. A dolmen is a kind of neolithic tomb, so put this on your MP3 player the next time you visit one.

DJ Shadow sampled the cello from the album version of this piece for his song Midnight in a Perfect World. I don’t blame him. It’s a nice cello riff. But who’s going to have the guts to sample the nying nying nying nying no no no nying nying nying nying no no no bits?

Monk has a website and a Facebook page. Go “like” her on Facebook!

Oll Raigh!

Italian pop star sings a song in gibberish that’s supposed to sound like English with an American drawl (and which occasionally seems to lapse into actual English). Not only do I love the, er, “lyrics,” but I love that relentless backing track. And of course the video, which combines two “live” performances of the song on Italian TV.

I know, this was big on the Internets a couple of years ago, and I should move on. But I love this song. I could listen to it on repeat for ten hours, and maybe I will.

Hold something!

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