corinthian

unlucky thirteen

I had originally selected these tracks with a mind for doing a big writeup about what they meant to me, and why I selected them. I am so very tired. You may not agree with my perspective, but here are thirteen things which suck: Dysfunctional home life; addiction; fear of intimacy; hospitals (and war, while we're at it); poverty; loneliness; hopelessness; the opposite of hopelessness — magical thinking; moral panic; suicide; television; lying; injustice. TRACK 01 "Cancer for the Cure," Eels INDEX: 00:00:00 TRACK 02 "Sober," Tool INDEX: 04:44:36 TRACK 03 "What Jail is Like," The Afghan Whigs INDEX: 09:49:19 TRACK 04 "Hospital Beds," Cold War Kids INDEX: 13:17:11 TRACK 05 "This Ain't Living," G. Love & Special Sauce INDEX: 17:56:47 TRACK 06 "Only the Lonely," The Motels INDEX: 24:29:33 TRACK 07 "Something I Can Never Have," Nine Inch Nails INDEX: 27:29:61 TRACK 08 "Déjà Vu," Something For Kate INDEX: 33:16:71 TRACK 09 "Nihilist Assault Group," Stereolab INDEX: 37:40:50 TRACK 10 "More Suicides Please," The Thought Criminals INDEX: 44:35:71 TRACK 11 "Kill Your Television," Ned's Atomic Dustbin INDEX: 47:03:67 TRACK 12 "Lie for a Lie," Built To Spill INDEX: 50:01:53 TRACK 13 "Evil Will Prevail," The Flaming Lips INDEX: 53:15:16 *Incorrectly attributed tracks 10 & 11; fixed 15/11/10

down tempo

This post is inspired by Kutiman, who assembled seven tracks by mashing up different videos. "The Mother of All Funk Chords" is the first track of the collection. I recommend you visit http://thru-you.com/ to check out more music and and videos as well. The rest of the tracks groove pretty well, I think. Sometimes shorter is better. I hope you enjoy the mix. TRACK 01 "The Mother of All Funk Chords," Kutiman INDEX: 00:00:00 TRACK 02 "Dap Walk," Ernie & the Top Notes INDEX: 03:35:65 TRACK 03 "Find Your State of Mind," Jestofunk INDEX: 06:44:63 TRACK 04 "Blacker," The Ballistic Brothers INDEX: 12:32:48 TRACK 05 "Un Homme Libre (I'm Alive)," Claude Francois INDEX: 16:11:64 TRACK 06 "Bobby Dazzler," The Sons Of Silence INDEX: 18:42:04 TRACK 07 "Near the Black Forest," Vanessa Daou INDEX: 23:35:19 TRACK 08 "Underwater Love," Smoke City INDEX: 27:56:50 TRACK 09 "Visible from Space," Kruder & Dorfmeister INDEX: 33:54:28 TRACK 10 "Argha Noah," Nightmares On Wax INDEX: 39:46:35

in cold blood

There's so much I'd say in this post. From Camus' existential emptiness to the sinister menace of "Family Happiness," the orgy of violence in "O'Malley's Bar" and the liberation of Kashchei's subjects, murder is a rich vein. I've repeatedly (ahem) culled the tracks which, although brilliant, just didn't fit the mix. But I seem to have made a habit of missing my post deadlines, and that's got to stop. So, put on your headphones and have a listen. And spare a glance over your shoulder; make sure no one's behind you. TRACK 01 "Killing an Arab," The Cure INDEX: 00:00:00 TRACK 02 "I Don't Like Mondays," The Boomtown Rats INDEX: 02:22:10 TRACK 03 "Family Happiness," The Mountain Goats INDEX: 06:39:38 TRACK 04 "Letter to Bowie Knife," Calexico INDEX: 09:35:14 TRACK 05 "O Valencia!," The Decemberists INDEX: 12:38:53 TRACK 06 "Somebody Got Murdered," The Clash INDEX: 16:23:72 TRACK 07 "38 Years Old," The Tragically Hip INDEX: 19:56:71 TRACK 08 "Psycho Killer," Talking Heads INDEX: 24:14:16 TRACK 09 "O'Malley's Bar," Nick Cave & The Bad Seeds INDEX: 28:32:02 TRACK 10 "Murder in the Red Barn," Tom Waits INDEX: 42:59:74 TRACK 11 "The Big Three Killed My Baby," The White Stripes INDEX: 47:27:57 TRACK 12 "Pretty Piece of Flesh," One Inch Punch INDEX: 49:55:68 TRACK 13 "Killer Inside Me," MC 900 Ft Jesus INDEX: 54:45:73 TRACK 14 "We Love the Fresh Kills," Pnau INDEX: 58:54:09 TRACK 15 "Clubbed to Death (Kurayamino Mix)," Rob D INDEX: 63:35:44 TRACK 16 "The Dying Black Swan," Susumu Yokota INDEX: 71:01:59 TRACK 17 "Kashchei's Death, and Dissolution of his Enchantments" Igor Stravinsky INDEX: 73:20:61

time's arrow

Like so many of these posts, this week's mix began as something rather different. I've had the idea in my head of following the evolution of musicians' sound over the years. Rather than play the role of the didact, I decided to pull together a selection of artists demonstrating a common thematic sound — Le Fil, Camille called it in her album of the same title. The opening selection exemplifies this idea. Bauhaus could have single-handedly founded goth with “Bela Lugosi's Dead.” The surreal lyrics, and the erratic, distorted percussion backs a stripped, tight arrangement. Peter Murphy's deadpan delivery evolves into a delightfully melodramatic wailing, with gated guitars swooping in and out of the soundscape. Former Bauhaus guitarist Daniel Ash gleefully picks up the bombast and runs wild with more layered guitars and a train to hell. I was much more into Love and Rockets than their progenitors when I was younger, and a lot of their music is much more dreamy (some might say plodding), but I think this track shows a lot of Bauhaus. There's no connection that I know of between Love and Rockets and Black Rebel Motorcycle Club. A friend suggested I check them out, since I so dug L & R. The sound is unmistakable, and “Rise or Fall” fucking rocks. I really missed the Radiohead boat when they first hit the States. Their dreadfully overexposed single “Creep” sounded as if it were riding the downer shoegazer wave of the early 90s. I found their sophomore album in a tiny secondhand shop in Sydney, and was blown away. The opening lick of “My Iron Lung" always makes me think of listening to The Beatles for the first time. I would visit my friend, who was much younger than his sisters, and we used to nick their records and their incense. We were only seven or eight, and had no fucking idea. We'd light the cone of cheap incense, and I'd sit hypnotised by the genie of smoke rising from the ember while the unique Apple Records label rotated 33 times a minute on the plastic turntable. Of course, when it comes to guitar hooks, Johnny Marr's opening to "How Soon is Now?" must rank amongst the most recognisable. It's hard to believe that it wasn't even an album track, but a B-side. Original editions of Meat is Murder didn't feature what eventually become the band's most enduring song. Morrissey and Marr have gone on to numerous subsequent projects, and I could have stuffed this mix with songs from The The and Morrissey's solo work, but I think the Modest Mouse track "Dashboard" showcases Marr's guitar work nicely. Less distortion and panning, to be sure, but it's not drawing too long a bow to hear "William, It was Really Nothing" behind Isaac Brock's raspy vocals. We shift gears at this point, listening to some of the crossover sounds between blues, rock & roll, Motown and soul. Buddy Guy, born in Louisiana, is still playing Chicago blues. The blues caught him, and did him no good. The Animals, from Britain, sing a classic folk song about sinking in New Orleans, while Jimmy Page's rolling guitar backs Robert Plant's squealing harmonica frame yet another American song about going home to Chicago when the dam finally does give way. Smokey Robinson plays an Italian clown, and Lee Fields takes Sharon Jones as a fool for love, while Vosotros venture that mayhaps we shouldn't break up at all. TRACK 01 "Bela Lugosi's Dead," Bauhaus INDEX: 00:00:00 TRACK 02 "Bound for Hell," Love and Rockets INDEX: 09:32:23 TRACK 03 "Rise or Fall," Black Rebel Motorcycle Club INDEX: 15:30:69 TRACK 04 "Dear Prudence," The Beatles INDEX: 19:26:27 TRACK 05 "My Iron Lung," Radiohead INDEX: 23:17:69 TRACK 06 "How Soon is Now?," The Smiths INDEX: 27:54:12 TRACK 07 "Dashboard," Modest Mouse INDEX: 34:40:26 TRACK 08 "First Time I Met the Blues," Buddy Guy INDEX: 38:45:06 TRACK 09 "The House Of The Rising Sun," The Animals INDEX: 45:05:31 TRACK 10 "When the Levee Breaks," Led Zeppelin INDEX: 49:33:00 TRACK 11 "The Tears of a Clown," Smokey Robinson & The Miracles INDEX: 56:40:71 TRACK 12 "Stranded in Your Love," Sharon Jones and The Dap-Kings feat. Lee Fields INDEX: 59:34:50 TRACK 13 "Let's Stay in Love," Vosotros (feat. Sy Bar-Sheshet) INDEX: 65:20:04

a dub excursion

This week's mix is brought to you by a very special guest: my good friend Richard, whose original idea was the seed for this very podcast. Richard has kindly assembled an excellent mix for our enjoyment. He kindly offered to take some of the podcast load while my work pressures continue to intensify for the next ten days or so. Richard brings us a smooth change of pace, with a selection of dub, punk and funk — including an extended Curtis Mayfield version of “Move On Up” which I've never heard. Unfortunately, one of the tracks he supplied was irreparably scratched, so I replaced it with one of my own. I hope it fits well with the rest of the playlist. As much as I enjoy bringing out new mixes each week, I find a refreshing change in listening to some tunes from a friend whose musical tastes I greatly admire. I hope you enjoy this as much as I do. TRACK 01 "Remarkable Engines," Module INDEX: 00:00:00 TRACK 02 "Suspect Device," Stiff Little Fingers INDEX: 03:07:27 TRACK 03 "Ape to Angel," Pitch Black INDEX: 05:40:67 TRACK 04 "Transition," The Longcut INDEX: 12:59:74 TRACK 05 "Dust Me Selecta," Gerling INDEX: 17:30:44 TRACK 06 "Malawi Voodoo," Burning Babylon INDEX: 17:30:44 TRACK 07 "Six Days," DJ Shadow INDEX: 24:56:29 TRACK 08 "Elements Turn," Pitch Black INDEX: 29:54:01 TRACK 09 "Move On Up," Curtis Mayfield INDEX: 36:47:12

civil disobedience

As predicted, this week has been mad, though I'm quite happy to have pulled in some wins. Less satisfactorily, I'm left with little time for assembling a post. Apparently, I was feeling the yoke of The Man when I selected these tracks. Listen to these and go set something on fire -- or eat your cereal with a fork. TRACK 01 "What Does Your Soul Look Like (Part 1-Blue Sky Revisit) / Transmission 3," DJ Shadow INDEX: 00:00:00 TRACK 02 "Privilege," Peter Watkins INDEX: 07:27:72 TRACK 03 "Revolution Solution," Thievery Corporation & Perry Farrell INDEX: 08:28:33 TRACK 04 "Been Caught Stealing," Jane's Addiction INDEX: 12:05:60 TRACK 05 "Mrs. Robinson," The Lemonheads INDEX: 15:37:00 TRACK 06 "Five Fathoms," Everything But The Girl INDEX: 19:19:20 TRACK 07 "Killing in the Name," Rage Against the Machine INDEX: 25:40:38 TRACK 08 "Loaded," Primal Scream INDEX: 30:53:73

fear or favour

My original intent when assembling this post was to collect some of my favourite shameful pleasures. You'll certainly find signs of that — as in the opening track. This mix is a conscious switch from some of the darkness of my recent posts. There's no theme here deeper than a collection of songs I can listen to over and over. There's some new stuff in here, but many of the tracks are of their time, and they certainly date me. No matter. Some of these songs have stories, but every track in this mix thrills me to listen. You may experience that frisson to be more of a shudder, but I hope you find enough to enjoy to make it worth your while. I've got plenty of ideas for upcoming posts, but work and other engagements will demand an increasing commitment of my time and energy in the upcoming month, so my accompanying posts will be necessarily short. I hope that's okay. After all, this blog is about the music first. TRACK 01 "Clocks," Coldplay INDEX: 00:00:00 TRACK 02 "Uncertain Smile," The The INDEX: 05:05:52 TRACK 03 "Teardrop," Massive Attack INDEX: 11:49:58 TRACK 04 "Time Bomb," Nick Barker INDEX: 17:18:00 TRACK 05 "Release," george INDEX: 22:12:67 TRACK 06 "Lovely Allen," Holy Fuck INDEX: 25:52:59 TRACK 07 "Blubber Boy," Regurgitator INDEX: 30:21:63 TRACK 08 "The Ugly Army," Fresh Body Shop INDEX: 33:03:32 TRACK 09 "Forty Greatest Hits," The Experimental Pop Band INDEX: 36:02:38 TRACK 10 "Andy Wolff," Minus The Bear INDEX: 40:05:23 TRACK 11 "Strong Island," JVC Force INDEX: 42:13:60 TRACK 12 "Antonin vs Alberto," Dr Kuch INDEX: 48:14:21 TRACK 13 "When Doves Cry," Prince INDEX: 52:36:33 TRACK 14 "Cape Cod Kwassa Kwassa," Vampire Weekend INDEX: 56:24:25 TRACK 15 "And If Venice is Sinking," Spirit of the West INDEX: 59:56:43 TRACK 16 "Marnie (Muscovite Mix)," The Jazz Butcher INDEX: 63:46:67 TRACK 17 "Doopsylalolic," United Future Organization INDEX: 66:51:18

untitled #00

As well as syncopated rhythms, I'm interested in atonal music, with lots of flats and sharps. I like the way melodies can emerge from rococo, confusing sounds, forming something challenging and beautiful. That is all. TRACK 01 "The She," The Breeders INDEX: 00:00:00 TRACK 02 "Down Love's Tributaries," Morphine INDEX: 03:59:63 TRACK 03 "Horse," Dirty Three INDEX: 12:07:71 TRACK 04 "Su Su," Ubin INDEX: 17:45:34 TRACK 05 "Anywhere Anyone," Dntel INDEX: 22:27:15 TRACK 06 "Fly," Cornelius INDEX: 27:04:27 TRACK 07 "Pick Pocket Venus," Telemetry Orchestra INDEX: 32:44:23 TRACK 08 "5-4=Unity," Pavement INDEX: 38:30:29 TRACK 09 "Fairy Link," Susumu Yokota INDEX: 40:38:69 TRACK 10 "Veritables preludes flasques (pour un chien): Seul a la mais," Erik Satie INDEX: 45:11:47 TRACK 11 "Suite bergamasque - III. Clair de lune," Claude Debussy INDEX: 46:24:31

… and taxes

Seven years ago this week I fell down. It wasn't the first time; I've been tripping over my feet my whole life. What made this time different was that I couldn't move my right leg. I was walking along the Darling Harbour foreshore when I went over, ass over tit. More confused than anything, I got up and shambled back to the convention centre, where I was working at a trade show, dragging my right leg behind me like a wounded dog. I'd been moving a lot of heavy machinery for the show, so I thought I must have injured my back, but x-rays showed no damage. My doctor referred me to a neurologist who hit me with a hammer and stabbed me with a thumb tack, and told me I had multiple sclerosis as if he were remarking on the weather.

I knew he was full of shit, but I was shaken enough to ring my mother. She reassured me that I would be fine, but I went for an MRI anyway. I've had plenty of MRIs for karate-related injuries, but I couldn't help being nervous when they sucked me into the torpedo tube. My fears were realised when they pulled me back out after a few minutes and injected me with gadolinium. One doesn't normally get an injection for an MRI. The results came back after a few days, by which time my leg had fully recovered. I didn't know the details, but I knew the news would be bad. The films showed numerous faint lesions in my cervical spine, plus a couple spots glowing brightly in my brain.

The R.E.M. track “Bad Day” is a political song, lamenting the circus of American party politics. After I was diagnosed, I felt as if everyone who looked in my direction saw a dying man. For the first time in my life I felt completely adrift, looking into day stacked upon week stacked upon month stacked upon year of hopelessness. Michael Stipe's refrain, “it's been a bad day, please don't take a picture” reflected my wish that I could disappear from the face of the earth. MS is rarely fatal, but the documented suicide rate is double the general population. I wasted the next year, at least, plotting my own death. I didn't want what lay ahead. I thought it would be easier for everyone if those closest to me would just leave. 

It's surprisingly easy to act positive for others' sake. But there's always the alone time. When I was a child, I used to dream of flying. I wondered how it would feel to fall from the cliffs at The Gap. Would it feel like flying? Or bungee jumping, with a hammer blow at the end? I weighed the pros and cons of veering into oncoming traffic from the aptly named “suicide lane” on the Harbour Bridge. Suicidal ideation does not make for pleasant conversation, and when all you can think about is being dead, it's hard to maintain interest in anyone or anything else. Many friends dropped away. Fair enough: I sucked to be around. I didn't even want to be around myself. I split up with my partner of the time, and lived alone. My closest friends drew closer, and without them, I think I would have drawn the curtain. To my astonishment, I met a girl, and fell in love, almost against my will. 

I don't know about you, but I can't live for another. Not my mum, not my mates, or my darling Emma. Suicide is an act of violence against those nearest you, and I cannot reconcile inflicting that on others. I felt I owed it to my loved ones to keep going, when every day, I was wishing myself away. The pressure was suffocating. So I had a nervous breakdown, which was something of a relief, since I pretty much stopped caring about anything for a while. Meanwhile, I still had MS, which was progressing. I began to lose the feeling in my hands and feet. Think about that for a moment. Did you pick up that mobile phone? Can you turn the page in your book? Write a check? Now forget that. Think about shaking hands; are you squeezing too hard? Not enough? If you can, reach out and stroke your lover's back. How does that feel? Can you feel it? Are you even touching her, or are you caressing her pillow by mistake? 

Peter Gabriel wrote "Mercy Street" for Anne Sexton, who suffered from depression. Sexton's doctors prescribed writing, and "Mercy Street" is a paraphrase of some of the themes in her poetry. After four unsuccessful attempts, Anne Sexton killed herself by carbon monoxide poisoning. Don't screw up, or you'll wake up in hospital with a blinder of a headache. Get it right, and you're off to sleep. Of course I've thought about that, and pills, weapons, drink, whatever. Be creative — but not too creative, because simple plans work best. The problem is, suicide seems so contrary to the human condition. Don't think I'm blind to the self-pity. I know there's a fucking world full of people worse off than me. But that was true before I got sick, so it's hardly a comfort. I'm surrounded by people who don't have my problems. Should I feel happy for them? This kind of circular thinking makes me question the original premise that I'm better off dead. It's very confusing, and if you think you know the answer, keep it to yourself, because you don't. What I do know is that I made a promise. I'm not going to make plans to kill myself, and I'll take reasonable care to stay out of harm's way. And I'm going to do what I can to feel good. Which is why I wrote this. Thanks for reading, and listening. 

TRACK 01 "Bad Day," R.E.M. INDEX: 00:00:00
TRACK 02 "Armies Against Me," Epicure INDEX: 04:04:70
TRACK 03 "The Drowning Dream," Augie March INDEX: 09:13:16
TRACK 04 "Iris," Goo Goo Dolls INDEX: 13:48:17
TRACK 05 "Mercy Street," Peter Gabriel INDEX: 18:35:11
TRACK 06 "Rhymes of an Hour," Mazzy Star INDEX: 24:51:53
TRACK 07 "Dead Alive," Kurt Vile INDEX: 29:00:19
TRACK 08 "The Truth About Cats and Dogs (is that They Die)," Pony Up! INDEX: 32:46:68
TRACK 09 "Lamb44," Tiny Little Blackouts INDEX: 36:55:05
TRACK 10 "Out of Range," Decoder Ring INDEX: 42:13:44
TRACK 11 "Can't Find My Way Home," Blind Faith INDEX: 45:36:28
TRACK 12 "Wish You were Here," Pink Floyd INDEX: 48:51:17

a fear of falling

I worked all week on a mix which just got worse. Every song I added sucked, and every direction I tried was a dead-end. So I threw it all the bin and pieced this one together last night in a haze of alcohol and Valium. There's a story in there somewhere. TRACK 01 "Amerika v6.0 (The Best We Can Do)," Steve Earle INDEX: 00:00:00 TRACK 02 "Everybody Wake Up (Our Finest Hour Arrives)," Dave Matthews Band INDEX: 04:17:07 TRACK 03 "Mayday," UNKLE (feat. The Duke Spirit) INDEX: 08:34:37 TRACK 04 "I Predict a Riot," Kaiser Chiefs INDEX: 11:50:44 TRACK 05 "Uprising," Muse INDEX: 15:42:25 TRACK 06 "Rise," Public Image Ltd INDEX: 20:44:57 TRACK 07 "Rebel Warrior," Asian Dub Foundation INDEX: 26:48:54 TRACK 08 "Rock the Nation," Michael Franti & Spearhead INDEX: 33:13:72 TRACK 09 "Rip It Up," Jet INDEX: 37:38:65 TRACK 10 "Clampdown," The Clash INDEX: 40:56:00 TRACK 11 "Bandages," Hot Hot Heat INDEX: 44:45:69 TRACK 12 "Moment of Clarity," Jay-Z + DJ Danger Mouse INDEX: 48:16:35 TRACK 13 "Dystopia," Midnight Juggernauts INDEX: 52:16:60 TRACK 14 "Why Does my Heart Feel so Bad?," Moby INDEX: 55:10:14 TRACK 15 "The Weeping Song," Nick Cave & The Bad Seeds INDEX: 59:32:06 TRACK 16 "Over," A Perfect Circle INDEX: 63:48:68

ROT-26

This has been a busy week work-wise, and my brain is fried, so I'm keeping this post as simple as A-B-C. Hope you enjoy. TRACK 01 "A-Punk," Vampire Weekend INDEX: 00:00:00 TRACK 02 "Be-in," The Dandy Warhols INDEX: 02:15:66 TRACK 03 "In the Aeroplane Over the Sea," Neutral Milk Hotel INDEX: 09:15:11 TRACK 04 "One," Lamb INDEX: 12:36:17 TRACK 05 "One Too Many Mornings," The Chemical Brothers INDEX: 16:51:53 TRACK 06 "2 Wicky," Hooverphonic INDEX: 21:03:32 TRACK 07 "Two Hearts in 3/4 time," The Avalanches INDEX: 25:47:59 TRACK 08 "Three-Dee Melodie," Stereolab INDEX: 29:10:06 TRACK 09 "Three or Four," The New Pornographers INDEX: 34:11:43 TRACK 10 "My Four Leaf Clover," Nicole Willis & The Soul Investigators INDEX: 37:15:07 TRACK 11 "Four or Five Times," Lionel Hampton INDEX: 40:06:53 TRACK 12 "Hit 5," Lake of Bass INDEX: 42:57:25 TRACK 13 "Sixfiveoneoh," Bjorn Fogelberg INDEX: 46:32:65 TRACK 14 "6 Under Ground," Sneaker Pimps INDEX: 58:14:21 TRACK 15 "Exploration," The Karminsky Experience INDEX: 62:03:09 TRACK 16 "White Pepper Ice Cream," Cibo Matto INDEX: 67:35:26 TRACK 17 "Zambezi," The Fun Company INDEX: 72:44:22

one out of ten

When I first decided to try a covers mix, I figured I had plenty of material to pick from. One of the things I love about listening to a lot of music is discovering the different connections between artists, songs and how sometimes an artist's signature song is actually someone else's music. Jimi Hendrix's cover of "All Along the Watchtower" is a classic example, and I thought exploring song origins would be interesting. I spent some time researching and compiling songs, but the mix just wouldn't work, and the post sounded didactic while I was composing it. I listen to a lot of different stuff, but I'm no musician, or historian, and I don't want to pretend to give history lessons — especially if the mix is crap. I decided to go conventional, and pulled together some more contemporary renditions of well-known songs. There's nothing particularly original with this approach, but I think the selections allow the songs to stand on their own merits, as well as showcasing the performers. More importantly, this is a mix I can actually enjoy listening to. We open with an exemplary track from P.M. Dawn. Within seconds, the listener knows whose song this is, but every moment of the song belongs to P.M. Dawn, and their performance absolutely rocks. I've had this song in my collection for 17 years, and I love it. Mobius Band bring their own distorted bent to Radiohead's existential nod to Bob Dylan. Even though this version sounds nothing like Radiohead, Mobius Band manage to bring their own sense of claustrophobia to the piece. Notice how "uptight, uptight, uptight" bends in your ear to become "tied-up, tied-up, tied-up". The Foo Fighters' version of "Down in the Park" perfectly captures Gary Numan's image of dystopian alienation, whose original predated Radiohead by nearly two decades. Greg Laswell's cover of "Your Ghost" picks up the theme of isolation and brings home the sense of loss. Compare it to the original from a few posts back. I love the contrast between Laswell's plaintive cry and Hersh's croon. "Blind Willie McTell" is performed by the Australian supergroup of Tex Perkins from The Cruel Sea (and many other bands), Don Walker from Cold Chisel and guitarist Charlie Owen. I've seen these guys live, in various incarnations, and they're pretty incredible. Owen's restrained guitar underpins the piano in this beautiful arrangement for Triple J's Live at the Wireless session. Dar Williams brings a dreamy depiction of this Pink Floyd classic. I've known about Williams for a few years, but it was only while trawling for suitable tracks that I discovered her album My Better Self, which features this track. I'm looking forward to giving the album more time. Ryan Adams is a dick, but I prefer his cover of Oasis to the original. He manages to bring what feels like real meaning to Noel Gallagher's homage to George Harrison, whereas the original sounds like a radio-friendly anthem. I found Weezer covering the Pixies on an otherwise dreadful album of Pixies "tributes." I selected this track because Rivers Cuomo wasn't trying to out-do the Pixies, and instead managed to bring some of the band's distinctive sound to the song. I chose "Gold Dust Woman" because Courtney Love doing Stevie Nicks is too good to resist, and the song just rocks. The Dead Kennedys' "Too Drunk to Fuck" is the first of a trio of probably the most popular covers of this mix. French covers band Nouvelle Vague is fronted by the irresistibly cute Camille Dalmais, subverting Jello Biafra's already subversive anti-boofhead song. When I first heard Martina Topley-Bird singing with Tricky, I thought their version was the original. It was more than a year later that someone mentioned it was actually a cover of a Public Enemy song, "Black Steel in the Hour of Chaos," which is worth investigating for the extended lyrics, even if you're not into rap. I almost didn't include Devo's "Satisfaction," because I thought it might be too mainstream, which is a lame reason, so I got over it. And it perfectly captures my goal of presenting songs which stand on their own, while still retaining a link to original artist. I had no such problem with Rogue Wave, whom I'd never heard of before. I'm keen to discover some more of their own music. The Record Club is a project organised by Beck Hanson, where he gets together with some musicians, and they cover an entire album. "Never Tear Us Apart" comes from their work on Kick. Take a look at http://www.beck.com/recordclub/. "Hand on Your Heart" is another song which took me by surprise. I only found out by chance the song was originally recorded by Kylie Minogue. Soundgarden's "Black Hole Sun," of course, is instantly recognisable. Steve Lawrence and Eydie Gormé transform Chris Cornell's surreal lyrics into an otherworldly cabaret. The original is an amazing song, but I like this one, not only for its proudly cheesy arrangement, but because I can actually understand the words. I love Regina Spektor's music, and I find her version of "Real Love" moving — which is disturbing when I recall it was written for Yoko Ono. Johnny Cash's cover of Nick Cave's "The Mercy Seat" is more unnerving than moving. Cash, deeply religious but no angel, embellishes Cave's allusions to the holy throne of the Old Testament with his own persona of the convicted innocent man, which persona is itself subverted as the song unfolds. Rebecca Barnard's stripped cover of "Alive" is not only beautiful in its own right; she's arranged it in a key which I can actually sing. I'll spare us all my version. Theodore Sturgeon said, "Ninety percent of everything is crud." Compiling this post has been an object lesson in that revelation. There are so many bad covers, either because they're nothing more than karaoke, or they try to somehow outdo the original song or artist. Most of the tracks in this mix are notable departures from the originals, but I think these songs succeed because they fuse the heart of the music with a unique perspective, and bring something new to the listener. I hope you feel the same. TRACK 01 "You Got Me Floatin'," P.M. Dawn (Jimi Hendrix) INDEX: 00:00:00 TRACK 02 "Subterranean Homesick Alien," Mobius Band (Radiohead) INDEX: 04:49:33 TRACK 03 "Down in the Park," Foo Fighters (Gary Numan) INDEX: 09:00:66 TRACK 04 "Your Ghost," Greg Laswell (Kristin Hersh) INDEX: 13:05:18 TRACK 05 "Blind Willie McTell," Tex Perkins, Don Walker & Charlie Owen (Bob Dylan) INDEX: 16:43:66 TRACK 06 "Comfortably Numb," Dar Williams (Pink Floyd) INDEX: 22:31:14 TRACK 07 "Wonderwall," Ryan Adams (Oasis) INDEX: 27:54:52 TRACK 08 "Velouria," Weezer (The Pixies) INDEX: 32:00:25 TRACK 09 "Gold Dust Woman," Hole (Fleetwood Mac) INDEX: 35:52:52 TRACK 10 "Too Drunk to Fuck," Nouvelle Vague (Dead Kennedys) INDEX: 40:58:00 TRACK 11 "Black Steel," Tricky (Public Enemy) INDEX: 43:14:12 TRACK 12 "Satisfaction (I Can't Get Me No)," Devo (Rolling Stones) INDEX: 48:50:49 TRACK 13 "The Sidewinder Sleeps Tonite," Rogue Wave (R.E.M) INDEX: 51:31:21 TRACK 14 "Never Tear Us Apart," The Record Club (INXS) INDEX: 56:26:02 TRACK 15 "Hand on Your Heart," José González (Kylie Minogue) INDEX: 59:38:15 TRACK 16 "Black Hole Sun," Steve & Eydie (Soundgarden) INDEX: 63:10:67 TRACK 17 "Real Love," Regina Spektor (John Lennon) INDEX: 67:41:11 TRACK 18 "The Mercy Seat," Johnny Cash (Nick Cave and the Bad Seeds) INDEX: 70:52:68 TRACK 19 "Alive," Rebecca's Empire (Pearl Jam) INDEX: 75:25:35

a pedestrian undertaking

I'm still in the process of sorting out storage with my host, and the upcoming week looks pretty full-on, so I'm taking the low road and posting a mini-mix of tracks from Facebook status updates. I have some plans for what I hope will be interesting mixes coming up, but please accept this token in the meantime. The mix spans late January to mid-March 2009. I used to dance to The Chameleons UK (as I knew them in the States) during retro night at a Detroit club in the 90s. The lyrics are reminiscent of TS Eliot's allusions to the legend of King Arthur. At the time, I was writing a series of papers about the Arthurian cycle during my last years at uni. In February of last year, I underwent injections of botulinum toxin, in an attempt to relieve spasticity in my calves. This involves lying on my belly with needle electrodes inserted into various nerve plexuses within the leg muscles. A small current is run through the needles to target the nerves for the botox injection. There is no anaesthetic; none is needed for such a minor procedure. What no one expected was that the current would trigger waves of spasms across my legs and back. The pain was extraordinary. I flopped up and down like a landed fish, banging my head against the plinth, spittle flying. They could hear my screams across the entire floor. The doctor continued the injections, at my insistence. I came home, exhausted, and posted that I was feeling cross-eyed and painful. A few weeks later, it was apparent the botox wasn't bringing much relief. My taste in lyrics became progressively morbid. TRACK 01 "Swamp Thing," The Chamelons UK INDEX: 00:00:00 TRACK 02 "Crosseyed and Painless," Talking Heads INDEX: 05:54:74 TRACK 03 "Coconut," Harry Nilsson INDEX: 10:39:13 TRACK 04 "Stella Was a Diver and She was Always Down," Interpol INDEX: 14:28:12 TRACK 05 "November Spawned a Monster," Morrissey INDEX: 20:52:54 TRACK 06 "City," Primal Scream INDEX: 26:14:53

the story and the lie

Everything I'm telling you it's true, to the best of my memory — which of course isn't worth shit. If you ask me, I'll tell you: I'm from Detroit. That's a lie, of course. I grew up in the suburbs. I went to university in the city, worked there, that's the truth. 

My father wasn't in the UAW, but without the United Auto Workers, I might never have taught, never traveled the world, never broken so many bones. Or maybe that's another lie. My mother took me to Chicago when I was 13. It was the first time I'd ever seen a living city. Mum worked in Detroit until she retired, and thanks to her, I never learned to be afraid of the city. Even as a kid, though, I knew its heart was dead or dying. 

Chicago was emphatically alive. Years later I would return and explore, ride the "L" train, get a bus transfer. Public transport is unknown in my hometown. Trains carried cars, coal, not people. These days, the trains don't run. I drove downtown to university, where I explored eviscerated mansions between classes. I tutored English for gas money. Students came to my desk not only illiterate, but barely articulate. As disadvantaged graduates of Detroit's dysfunctional schools, they'd been admitted in a misguided attempt at outreach — set up to fail by a system they weren't equipped to even understand. The clapped out bombs I drove to school burned through the cash, but the seed first planted in the old UAW hall began to grow. 

I tell people that I live in Australia, and they say, “Oh, I wish I could go there!” as if I'm talking about fucking Mars. I want to punch them. After graduating uni, I drove to New York, parked my car at a brothel in Queens, and walked from The Village to 125th and Amsterdam. I knew I would be leaving Detroit. What does an arts major working in advertising do to escape his hometown? The Peace Corps offered a choice of two postings: Turkmenistan or the Republic of the Marshall Islands. If you want to find the Marshall Islands, grab a globe, and put your finger on Hawaii. Spin the globe until you find the Philippines, then back up. The Marshalls are halfway in-between. Bikini Atoll, famous for inspiring the two-piece swimsuit, is where the Americans tested some of their largest nuclear weapons. 

The '94 RMI Peace Corps recruits mustered in San Francisco. I would happily have stayed by the Bay, if Frisco needed ESL teachers, but within 72 hours, the lot of us deplaned onto a WWII-era airstrip. Sometimes, what seems like a good idea really is not. Education is a human right, and giving people skills to better their circumstances is an ideal expression of this principal. Teaching English to people who will never have occasion to use it is folly. After a summer on the equator, I felt like I was fooling myself. I declined my commission and returned to Detroit, to my old job, to winter. 

A letter arrived from my pen pal, an Australian living in Paris. I'd been thinking of throwing everything in and travelling to Europe, to visit her. I opened the letter and read that she was returning to Sydney. So I bought a plane ticket, and six months later, moved into a Sydney terrace house. A year later I moved out, and not long after, it was time to fly again. 

I circled the world, sending out a mass-emailed journal. (Which I've only just realised would've been analogous to a blog. And I thought I hated blogging.) Getting online wasn't easy or sometimes even possible, but, would you believe, the phone booths in Japan all had modem jacks. How quaint. I crammed into a Nippon phone box, uploaded my messages, and wandered the temples of Kyoto. I took a train through the surrounding mountains, and got off at the loneliest platform I saw, perched 30 metres over a river. Climbing past the fence down to the water, where the river from overhead cascaded into a misty pool, I looked up and ignored the rubbish floating in the icy water. 

Inevitably, I arrived in Paris — and returned three times? Four? I dunno. I stayed with friends in the fifth arrondissement, walked the Avenue des Champs-Élysées. Visited the Salvador Dalí museum and the Rodin sculpture garden. Never climbed the Eiffel Tower. I left unfinished business, but I doubt I shall return. The Olympics came to Sydney, and I ducked the festivities to go catting around Detroit for half a year. Met a crazy girl who thought she was an artist. I let her think I liked her while I slept on the sofa in her studio at the Scarab Club. 

I finally came to my senses and flew home to Australia. Passed a year of strife in Sydney's inner west. I found a job downtown teaching my trade to pretty girls. Naturally, I moved to Darlinghurst to be closer to work. I lived in a one-room unit indistinguishable from any shithole hotel room anywhere in the world, and showered at the local aquatic centre. Work was drying up, so I embarked on my last solo trip around the world, and found myself on a beach south of Colombo, being stalked by a pack of feral dogs and hungry children. I caught a plane home for a rest. Almost against my will, I started settling down: bought some furniture and hung some pictures. I was 32, and I thought I was set. 

I bought a wheelchair yesterday. At least I don't live in a war zone; or LA. Everything I've told you is true, but even in the telling, my story is a lie. I lie by omission, by preference and by leading you to infer things which are untrue. Listen to the mix instead. 

TRACK 01 "Daddy Built Cadillacs," Joe Smith INDEX: 00:00:00
TRACK 02 "Chicago," Sufjan Stevens INDEX: 03:10:47
TRACK 03 "Inner City Blues (Make Me Wanna Holler)," Marvin Gaye INDEX: 09:14:71
TRACK 04 "King of New York," Fun Lovin' Criminals INDEX: 14:41:01
TRACK 05 "Leaving the City," G. Love & Special Sauce INDEX: 18:03:24
TRACK 06 "Frisco Blues," John Lee Hooker INDEX: 21:44:05
TRACK 07 "Ocean of You," The Blackeyed Susans INDEX: 25:30:70
TRACK 08 "The Whores Hustle and the Hustlers Whore," PJ Harvey INDEX: 28:59:28
TRACK 09 "Alone in Kyoto," Air INDEX: 32:50:66
TRACK 10 "Parisian Thoroughfare," Donald Byrd INDEX: 37:14:56
TRACK 11 "Summer in the City," Lovin' Spoonful INDEX: 45:45:46
TRACK 12 "Battle of Stanmore," Died Pretty INDEX: 48:21:28
TRACK 13 "Darlinghurst Nights," The Go-Betweens INDEX: 50:42:01
TRACK 14 "Elijah Saw the Dogs," June INDEX: 56:29:00
TRACK 15 "Why You'd Want to Live Here," Death Cab For Cutie INDEX: 59:34:65
TRACK 16 "Miss Sarajevo," Passengers INDEX: 64:18:61

three feet

First, let me apologise for this week's tardy post. Due to a misunderstanding with my gracious hosts at PodBean, I had to wait until the first of the month to reclaim enough space to upload this week's post without having to retire an old one. I'd like to say that I took the time to make this week's mix extra-bonus-special, but you'll have to be the judge of that. Recent posts have focused on different lyrical themes. This week, I've selected tracks with an ear for the beat. My original idea was to mix up a drum & bass fiesta, but as usual, things worked out a little differently. We still have a top selection of drum & bass and jungle, but I thought mixing in some other genres also featuring syncopated rhythms would be a lot more interesting. 

The opening track is the popular single from Bentley Rhythm Ace's self-titled debut album. BRA formed from the remains of Pop Will Eat Itself and drunken desperation, and their first album shows real promise. Known mainly as a big beat and house band, the duo weren't afraid to lay down hard-to-dance beats — sometimes at the cost of listenability, as on their second and final album, For Your Ears Only. I would definitely recommend giving their first album a listen before tackling the next. 

Roni Size brings us an excellent fusion of jungle beats and drum & bass. Another British act, Roni Size (Ryan Williams) blends the rhythms of his Jamaican heritage with the breakbeat sounds of the Bristol DJ scene. Williams cites reggae as a root influence. I must say I hate reggae, but I'm a big fan of its cousin, dub. Both styles contribute to drum & bass and jungle, combining with house to help form dancehall and big beat. You can see my challenges in containing the mix within a single genre. 

“Magic Medicine” comes from Incubus' second album, S.C.I.E.N.C.E. Incubus are mainly known as a metal band, but this album pulls together a disparate (and dissonant) array of styles, including hip-hop, jazz and drum & bass. Although this album is a real mixed bag, the variety hits the mark as often as not, excusing the painful misses. 

Jacky Terrasson is another name one might not expect in this mix. Known mainly for contemporary jazz, Terrasson's 2001 album À Paris features this excellent breakbeat interlude. Longtime listeners may recognise a sample from Brazilian Amon Tobin's track “Rosies”. A shorter sample formed the core of MC Honkey's "What a Bringdown". Tobin has been making genre-busting albums for 15 years. He combines challenging beats with an avant-garde sensibility, and a wry sense of humour. Have a listen to "Like Regular Chickens" from Permutation to hear what I mean. 

New York group Soul Coughing broke through on the strength of their alternative rock sound, but their albums feature a more eclectic mix of jam poetry, jazz fusion and funk. "Rolling" was their last US single to chart, from their underrated album El Oso. Flow Dynamics is an Australian funk and hip-hop producer who has worked with various artists to combine samples with live performance. Not that that's anything unique, but I love the sound. 

Thievery Corporation are a DJ duo based in Washington, DC. Although primarily dub musicians, their trip-hop sensibilities show through with “Shoalin Satellite.” DJ Shadow picks up the count from the Corporation, with this track from his groundbreaking album Endtroducing. I really cannot recommend this album highly enough. It is a unique piece of music, composed entirely of samples. 

We sidetrack completely into a more recognisable realm, with “Mission Impossible”, composed in 5/4 time. Schifrin once commented that one would need three feet to dance to the music. (Or, at least, I seem to recall he did. For the life of me, I can't find a citation supporting this vague memory, even with 30 seconds of scouring the internet.) We move into straight pop with some underlying breakbeats thanks to Boca 45 and Tammy Payne. “Take a Ride” is yet another case where the radio hit gives you no real indication of the rest of the album, which I found took years of listening to appreciate. Dave Angel started by basically remixing "Sweet Dreams" from the Euryhthmics with his own keyboard and beats. Based on the popularity of his re-use of appropriated music, he was picked up by a rotation of performers, and ended up founding his own label, as well as releasing two albums. 

There's a lot of cross-fertilisation in music, as with Dave Angel's remix; Thunderball's track features on the album Den of Thieves, a compilation of artists from the Thievery Corporation's Eighteenth Street Studio. Aïwa are an Iraqi-French "collective" bringing Arabic rap to that tragically underserved demographic. I found them on a sampler album, Coup D'État, featuring international beats. According to their bio, "They're trying to make the classical Arabic music heard from their parent's records (Om Kalsoum, Abdel Halim Hafez, Fairuz…) meeting with the western music." I like their sound in this mix. There's a predisposition to think of drum & bass as a strong fit with syncopated Latin rhythms, and it's cool to hear the breakbeat sound coming from unexpected quarters like Arab rap. 

The last two tracks combine sharper, more electronic beats with canny observations of the music industry. Trash Palace may or may not be named after a gay bar in Soho; their track featuring Brian Molko of Placebo leaves nothing to the imagination. We close with “Velvet Pants” from Propellerheads, a 90s big beat pair who, apparently, revolve around music. 

Track 01 “Bentley's Gonna Sort You Out!,” Bentley rhythm Ace Index: 00:00:00
Track 02 “Strictly Social,” Roni Size Index: 3:43:42
Track 03 “Magic Medicine,” Incubus Index: 10:32:22
Track 04 “Métro,” Jacky Terrasson Index: 13: 35:35
Track 05 “Rosies,” Amon Tobin Index: 15: 614
Track 06 “Rolling,” Soul Coughing Index: 20: 28:74
Track 07 “At the Speakeasy (Flow Dynamics remix),” Flow Dynamics Index: 24:5 after five
Track 08 “Shaolin Satellite,” Thievery Corporation Index: 28:34:59
Track 09 “The Numbers Song,” DJ Shadow Index: 32:56:02
Track 10 “Mission Impossible,” Lalo Schifrin Index: 37:29:56
Track 11 “Take a Ride,” Boca 45 Index: 39:55: 11
Track 12 “Brothers,” Dave Angel Index: 43:56:74
Track 13 “The Panther,” Thunderball Index: 48:59:43
Track 14 “Oudaïwa,” Aïwa Index: 55:1214
Track 15 “The Metric System,” Trash Palace Index: 59:26: 20
Track 16 “Velvet Pants,” Propellerheads Index: 63: 19: 37

23 o'clock

I've always been more of a night creature. I hate sleeping, and I often find a second wind between 10 and 11pm. When I was going to uni, I used to function on five hours of sleep; these days, it's somewhat harder to get out of bed in the morning. And though I can lay some blame on the short winter days, of course that's not the full story. Naturally, this means I have trouble getting to sleep at normal hours. I've taken up the mental exercise of imagining my 40-year-old mind time traveling back to my 20-year-old life, like some hackneyed Disney film. I work my way through different decisions and circumstances which led me to my life today. It's not like going through a laundry list of regrets, or anything like that — far from it. I love my life, and I'm very pleased with how it's turned out (obvious exception excluded). No, this really is a soporific practice, because I have to go through and imagine myself today making the same impulsive, foolish and most of all, ignorant choices I made when I was half my age. But one thing, I would have to finish university. How boring! When faced with having to sit through the same classes, sleep looks very attractive. 

Some of my dearest friends are in my life today because of the smallest happenstance of a job, a class, an impetuous decision. I wouldn't live in Australia today if I hadn't been having an affair with my boss nearly two decades ago. Living in the past can be an addiction, I think. I have no idea about Sarah McLachlan's particulars, but I like to think "building a mystery" means living a life. I'm having a go at trying to improve the formatting of the playlist a little bit, but the website's built-in editor doesn't provide a lot of options, so I'm just kind of throwing stuff around to see what holds together. 

If you're coming to this post from Facebook, you might have seen the previous posts floating past in the river of shit which is the main page. Tonight's feature is the first and probably only post I'm actively advertising. I'm not really hoping for a OMG HUEG! following. In fact, I'm staggered to see that I have 19 subscribers. I mean, how do these people find me? What in the world must one be searching for to uncover these humble mixes? 

As always, I hope you enjoy. 

--R

TRACK 01 "Building a Mystery" INDEX: 00:00:00
TRACK 02 "Ain't Too Proud to Beg" INDEX: 04:06:69
TRACK 03 "On the Radio" INDEX: 06:36:48
TRACK 04 "Divine Hammer" INDEX: 09:58:70
TRACK 05 "Le Responsable" INDEX: 12:40:36
TRACK 06 "Bad to the Bone" INDEX: 15:13:59
TRACK 07 "Cool for Cats" INDEX: 20:01:37
TRACK 08 "Loser" INDEX: 23:10:12
TRACK 09 "Dead Eyes Opened Remix" INDEX: 27:05:29
TRACK 10 "Be My Girl--Sally" INDEX: 30:52:71
TRACK 11 "Killing an Arab" INDEX: 34:16:48
TRACK 12 "Enjoy the Silence" INDEX: 36:39:03
TRACK 13 "What Difference Does It Make?" INDEX: 40:48:09
TRACK 14 "The Last of the Unplucked Gems" INDEX: 44:37:00

Voices in the Dark

My original thought when starting this was to initiate a dialogue about the music. I thought about this for a while, in the light of not having received any direct feedback, other than enthusiastic pats on the back from my friends (thank-you). I've decided that I'm not going to make this forum about comments (though feedback is, of course invited and welcome). It's going to be about the
tracks I'm putting up, which, when I was using them as FB statuses, must have seemed to possess voices of their own. Rather than appropriate those voices for whatever flip epigram I was aiming for, I'll let the music speak for itself. (Oh, by the way, I know I'm omitting the artist names. Firstly, some of the songs I post are covers, and I hope to surprise you once in a while. Second, this is also an exercise in computer science as I learn to script and automate the various steps in assembling the tracks and playlist. I haven't yet found a way to automatically extract artist information, and I'm far too lazy to type that shit in. If you must know, try Google.) 

Hope you enjoy, 

--R

TRACK 01 "Commissioning a Symphony in C" INDEX: 00:00:00
TRACK 02 "A New England" INDEX: 02:59:08
TRACK 03 "Cure for Pain" INDEX: 05:12:45
TRACK 04 "Clark Gable" INDEX: 08:24:23
TRACK 05 "Ghost of Steven Foster" INDEX: 13:18:57
TRACK 06 "Bicycle Race" INDEX: 16:52:05
TRACK 07 "Goody Two Shoes" INDEX: 19:54:62
TRACK 08 "Oh My God" INDEX: 23:24:40
TRACK 09 "Lust for Life" INDEX: 28:32:35
TRACK 10 "I Got Cash" INDEX: 33:45:59
TRACK 11 "Cornflake Girl" INDEX: 38:36:59
TRACK 12 "Kiss Off" INDEX: 43:42:12
TRACK 13 "Bug Powder Dust" INDEX: 46:38:54
TRACK 14 "In My Arms" INDEX: 50:57:15

zOMG! My first music podcast.

This idea has been floating around in my head for too long, and, inspired by my good friend Richard Stewart and the lovely Emma, I'm out to make a go of sharing some music which I find interesting. Comments are most welcome. The theme of the first few posts springs from the lyrics of songs from which I've been quoting for my Facebook status updates over the past few years. If you have kept up with me on Facebook for that long, perhaps you'll find some familiar songs. I hope you discover some stuff that you like, and I'm sure you will find some songs to hate. This is really an experiment in usability for myself and any audience which may find this of interest. Please feel free to suggest songs for future playlists, as well as artists or songs which you think I should investigate. Suggestions for improving the experience are of course warmly welcomed. At least for now, all comments will be moderated, so there will be a delay between your posting and when your rant appears. 

The first track, “She Dreamt She was a Bulldozer …", by Godspeed You Black Emperor!, is quite challenging, and if you don't feel like exploring the weirdness of Canadian non-rock, I recommend you skip ahead to the 19 minute mark and pick up some Belle and Sebastian. In any case, sit back and have a listen, and hopefully enjoy. 

Best regards,

--R 

TRACK 01 "She Dreamt She was a Bulldozer, She Dreamt She was Alone in an Empty Field" 
TRACK 02 "Dirty Dream Number Two" TIME INDEX 18:57:44
TRACK 03 "Pablo Picasso" TIME INDEX 23:11:54
TRACK 04 "Black Metallic" TIME INDEX 27:15:01
TRACK 05 "The Ubiquitous Mr. Lovegrove" TIME INDEX 34:33:51
TRACK 06 "Back in Black" TIME INDEX 40:50:56
TRACK 07 "Birdhouse in Your Soul" TIME INDEX 45:06:56
TRACK 08 "It's the End of the World as We Know It (And I Feel Fine)" TIME INDEX 48:27:34
TRACK 09 "Baby Elephant Walk" TIME INDEX 52:34:39
TRACK 10 "I Snub You" TIME INDEX 55:18:66
TRACK 11 "Kool Thing" TIME INDEX 58:28:35
TRACK 12 "Give Out But Don't Give Up" TIME INDEX 62:34:67
TRACK 13 "Beanbag Chair" TIME INDEX 68:51:27
TRACK 14 "Gay Bar" TIME INDEX 71:53:70
TRACK 15 "Radar Love" TIME INDEX 74:14:63
TRACK 16 "Goin' Out West" TIME INDEX 01 80:39:08