Monday, October 24, 2011

Sinister Sounds from the Crypt


















I am happy to say that this year I am ahead of schedule for once, so you will have at least a week to listen to this year's Halloween mix. This time around, you can expect to hear a diverse assortment of rockabilly,  doo-wop, blues, rock and soul interspersed with snatches of old horror film trailers and spooky noisescapes. I worked on this for many hours this past weekend, and I believe that I have constructed a mix that will be perfect for scaring the bejeesus out of those trick-or treaters beating down your door.

For those of you would like a tracklist for this year's Halloween mix, I will be happy to provide this to you upon request.

Oh, and I almost forgot to mention that Eclectic Grooves celebrated it's 5th birthday yesterday. It's hard to believe that it's been this long, but I've really had a blast sharing thoughts with the readers about new musical discoveries throughout the past 5 years. Here's to 5 more!

This will likely be the last post from me before Halloween, so with that I wish you all a Happy Halloween!


Sinister Sounds from the Crypt

Halloween Redux Part 3















This is the last installment of the Halloween podcasts that are no longer available to download on Podomatic. It was first posted last Halloween, and was split up into two parts due to the length of the mix. As I recall, I was able to comeplete this one earlier in the day on Halloween, as opposed to the previous year where I completed it just before the clock struck midnight.

Here are my notes from last year's post:

Given the time of the season, it is once again time for me to dredge through my seemingly endless archives of spooky music to present a new Halloween mix to the readers. Last year I was rushing against the clock to complete my Halloween podcast before the clock struck midnight on Halloween. After learning my lesson from this, I began compiling my list two weeks ago with possible songs that could make the cut for this years mix. These songs were culled from my own collection, Soulseek users and the numerous Halloween blogs and forums across the internet. Without the help of these sources, it would have been practically impossible for me to finish this mix on time.

Considering my tendency to strive towards perfection, finishing this mix before Halloween has meant spending hours painstakingly crafting a two-part mix of the most terrifyingly bone-chilling music that I could possibly find. Please note that in order to prevent from scaring all of my listeners stiff, I have thrown in some light-hearted Halloween tunes from genres such as rockabilly, doo-wop and soul to balance out the tone. I hope that this mix finds you well and provides the perfect soundtrack to the haunted house of your mind.

I hope you guys enjoy this last update before I post this year's Halloween mix.

Halloween Hodgepodge Part 1

Halloween Hodgepodge Part 2

Wednesday, October 19, 2011

Halloween Redux Part II

Vincent Price from House on Haunted Hill














Just to get you geared up for the Halloween season, I figured I would keep cranking these out. This one was first featured on Podomatic back in 2009 and is entitled Halloween Hodgepodge. 

I would love to hear what you guys think of these mixes so please drop me a line in the comments.

Again, for those of you who would like a tracklist, I would be happy to provide this upon requset.

Hope this mix gets you in the Halloween spirit!

Monday, October 17, 2011

Halloween Redux Part 1



















Painting by Edward Gorey from The Gashlycrumb Tinies
Over the next week, I will be featuring Halloween mixes that I have posted over the past few years. These were originally posted on Podomatic, but since my server space is limited I was forced to take them down to make room for the newest episodes. This one was posted back in 2008, and it was entitled House of Horrors 2008. For now, I will be leaving the tracklist up to your imagination, but drop me a line in the comments if you would like the tracklist.

Hope you enjoy this blast from the past!

Until next time... Keep those doors locked and make sure to keep one eye open while sleeping cause you never know what evil may be lurking around the corner. Muwahahaha!

House of Horrors 2008

Sunday, October 16, 2011

Transmissions from the Vinyl Underground



This week, I attended the movie Vinyl: The Alternate Take by Alan Zwieg on Thursday followed by an insightful panel discussion with Terry Currier from Music Millennium, Hisham Mayet from Sublime Frequencies and Eric from Mississipi Records. Then, on Saturday I went to the Night Owl Record Show at the Eagle's Lodge for a couple hours. All in all, it was a pretty exciting week for me!

Alan Zwieg's first feature called Vinyl was about obsessive record collectors whose predilection for hoarding vinyl seems to have impacted their ability to carry on normal relationships with friends and family. While the first edition of Vinyl was mildly entertaining, it mostly depicted the profound sadnesss that these people experienced due to their excessive collecting habits. I felt that Vinyl was too one-sided in it's message that anyone who collects to this extent is an inherently sad and depressed person, as there were no portrayals of the vinyl enthusiast who manages to have a well-balanced and happy life.

With Zwieg's Vinyl: The Alternate Take, he manages to squeeze in a little more positivity amongst all of the darkness. Among the high points of the film are lighthearted moments between a father and son who regularly go out record hunting together and manage to have a good relationship with each other, a twenty-something music freak who talks about the first time he discovered jazz and how it opened up a whole world for him and the wide-eyed enthusiasm of a young black male describing his experience of first discovering the music of Iron Butterfly. In fact, the worst parts of the film are when Zwieg positions himself in front of the camera as he films himself looking into a mirror and continuously fumbles around with the microphone. His realization that rediscovering his favorite albums from his youth (Doors and Blues Magoos) did not give him the same pleasure as rediscovering a friend from the past leads the viewer to believe that he is using music to replace basic foundational needs. If you are looking for a movie that looks at collecting vinyl in a positive light, this is probably not the movie for you. Instead, there is a forthcoming documentary called To Have and To Hold: A Musicmentory that promises to be a much better film that celebrates the medium and the people who champion it.

After the film, I was fortunate to participate in a round-table discussion about producing, manufacturing selling and buying vinyl from the standpoint of the consumer, the record store owners and label heads. It started out slow, but once the panel got warmed up, we were knee deep in a spirited debate about the fate of vinyl as a medium. You couldn't have asked for a better group of music aficionados than the panel that was selected  for the evening with Hisham from the mind blowing international label Sublime Frequencies, Terry Currier, the long time owner of the oldest record store in Portland, Music Millenium and Eric, the owner of the fantastic Mississippi Records record store and label head.

During the discussion, we largely talked about the supply and demand of vinyl, and the fact that vinyl appears to be the only format of music that is showing any signs of life in the music business today. I brought up the point that vinyl has shown a definite resurgence in the past several years, and it doesn't seem logical for a person to run a record store without featuring a substantial used and new vinyl selection. The panel didn't completely agree with me on this, as they were comparing the percentage of today's vinyl sales with that of the heyday of vinyl in the late 60's and 70's. This comparison doesn't seem fair considering that the only format available at the time was vinyl, so it would only make sense that the percentage of vinyl sales was higher then than it is now.

The next part of the discussion revolved around the cost of making vinyl versus the profit margin. Everyone on the panel was in agreement that you put something out on vinyl because it is meaningful to you and not to make a profit, as the costs of producing and manufacturing vinyl grossly outweigh the ability to make a profit on your investment. This is an area that I couldn't remark on as I have not been aware of the actual costs of making records. For the most part, it sounds like the labels want to release vinyl because they deem it to be the best medium to experience music, but it is virtually impossible to make a profit by releasing vinyl solely.

One of the most controversial topics of the night was the argument that music piracy is single-handedly responsible for the demise of the record industry. I personally don't agree with this assessment, as I feel it fails to see the big picture. Over the past decade, the music industry has continuously shot itself in the foot by raising the prices of CD's to the extent that record stores have struggled to supply a product that the comsumers want at an affordable price. As a result, file sharing services such as Napster, Mozilla, Bear Share and Soulseek have emerged to illustrate the point that if the record industry doesn't play nice, the consumers will take the power back.

There were a couple topics that I wanted to bring up which didn't get addressed within this discussion that I would like to talk about now. The first of these that I wanted to address was my personal experience with digital downloading. When I was first introduced to the wonders of Napster, I was starting to grow disinterested in music as a whole. The classic rock radio station in Peoria, IL was hammering the same mundane songs into my head while the so-called alternative radio station was simply playing music which catered to the mainstream listening audeience. Since Peoria didn't have many avenues for buying music, I was left to my own devices.  With Napster, I was able to download music from bands that I had read about in the music zines and then decide if it was good enough to buy from online retailers.  I bought more music because of Napster than I had ever bought in my life. While I realize that I am not the average music enthusiast, I'd be willing to bet that other people have similar stories to share.

The last point of discussion that I wasn't able to address was "What can I do to ensure that record stores and vinyl as a medium continue to flourish throughout my days"? If any of you have ideas for what we can do to ensure this, I am all ears.

Yesterday,with hesitance I attended the bi-annual Night Owl Record Show for the first time. I was primarily hesitant because I had heard horror stories about people pushing you out of the way and being agressive. This was not something that I felt I was mentally prepared for, but I managed to muster up the courage to check this out for myself. We got to the show arouund 5:00, and had to wait in line for about 10 minutes before we were able to enter. Once we got in there, the room was oppressively hot with funky music blaring from the speakers that was almost too loud to hear yourself think.

There were so many people and records in this tiny space that at times I felt a little claustrophobic.  I started searching for wax wherever there was no wait, as some of these spots had 3 people waiting in line. The first place that I checked out was the one that I bought the most records from, as I was caught up in the thrill of being there and couldn't help myself.  Scores from this booth included a first pressing of EPMD's Strictly  Business and Eddie Harris Is it In. 

Then, proceeded to the next booth right around the corner. He had a bunch of amazing records, but they were definitely aware of what their records were worth. I managed to score a Jimi Hendrix w/ Isley Brothers record in VG-EX shape for $14.  Toward the end of my digging expedition, I found a booth that had a treasure trove of rare soul and funk records that had a note attached to each record indicating the hip-hop artists who had sampled it.  Unfortunately, I wasn't able to buy much from them because at this point I had already spent a lot of money, but I did get a Hampton Grease Band album in fairly good condition and a Hamza El Din record for very cheap. For the most part, the sellers were helpful and polite which made the experience that much better. I would definitely attend another of these as it was a fun way to spend some time hanging out with people who share a common passion for music.

I would love to hear from any of you about what you think about the current state of music,  as well as what kind of things you think that we as music lovers can do to ensure that music and especially vinyl never goes away?

Stay tuned for a Halloween mix for 2011 as well as re-ups of past Halloween podcasts that are no longer available on Podomatic.

Sunday, October 09, 2011

Opening the Doors of Perception


This past June for my birthday, I received a fantastic book from my girlfriend entitled Turn On your Mind by Jim De Rogatis. Within the confines of the book, the author ambitiously strives to effectively present an  overview of the last four decades of psychedelic rock according to his tastes and sensibilities, and he is largely successful at doing so. At roughly over 600 pages, it is a thoroughly researched, painstakingly detailed and thoughtfully constructed opus consisting of lists, further listening recommendations and numerous quotes taken from musicians, producers, writers and other scholars who either experienced psychedelic music firsthand or have taken a specific interest in it over the years. When DeRogatis is firing on all cylinders, it shows in his writing. There is an incredibly insightful introductory chapter that outlines the history of LSD, an in-depth analysis of Syd Barrett and Pink Floyd and a highly inspired overview of psychedelia in hip-hop.

While the book is generally successful at summarizing a genre of music as vast as psychedelia, it also offers little information here that will be new to the average psychedelic rock enthusiast. DeRogatis has obviously done his homework, but I feel that he falls short in a couple key areas. In my opinion, the first area where this book failed to meet my expectations was in it's lack of representation of psychedelic music from other countries such as Sweden, Japan, Finland, Brazil and Turkey.   In fact, the only instances where the psychedelic music from other countries factors in is the requisite chapter on U.K. Rock featuring obvious inclusions such as The Zombies, The Soft Machine and The Pretty Things, as well as the chapter dedicated to the German "Krautrock" scene featuring key players such as Can, Neu, Kraftwerk and Faust. While these are fine introductions to Krautrock and Brit-rock for the novice, there is little here for the music freak who is constantly surfing the web or digging in the crates every day for new musical discoveries.

The other problem that I can find with the book is that the author devotes entirely too much space covering artists that most of the general public is already familiar with, such as The Beatles, Pink Floyd, Rolling Stones and David Bowie.  I can only gather that focusing on these artists was his way of capturing the attention of a more mainstream audience, which is puzzling since most of these folks wouldn't be seeking out a book about psychedelic music in the first place. Instead, he could have explored the depths of underground psychedelia from bands like Bardo Pond, MV&EE, Charlambides, Sun City Girls, Chrissy Zebby Tembo, Flower Travellin Band, Les Rallizes Denudes, SRC and July to name but a few.

One can certainly not fault DeRogatis for failing to cover the "New Garage Revival" since the second edition of this book was pressed in 2003, several years before the burgeoning psychedelic rock scene in San Francisco had taken full flight. The main progenitors of this scene include Thee Oh Sees, Jay Reatard, The Fresh and Onlys, Ty Segall, and Sic Alps, but this list barely scratches the surface of the bands who deserve to be mentioned as being instrumental in spearheading the new psychedelic movement.

Perhaps DeRogatis will issue a third edition of his psychedelic overview to revisit the current music that is taking the psychedelic world by storm. In the meantime, I plan on featuring a series of posts and podcasts discussing the bands featured in Turn On Your Mind that were new discoveries to me, as well as artists that I feel deserved inclusion that were not featured in the book.

Today's inclusion will be a mix of artists that represent the sound of psychedelic hip-hop. I hope that you have enjoyed reading my assessment of Turn On Your Mind, and that you enjoy this mix!

Psychedelic Hip-Hop from the Streets

1) Edan- Polite Meeting Intro- 2:16
2) Mr Lif- Collapse the Walls- 3:06
3) Mos Def- Revelations- 2:03
4) Quasimoto- Closer- 3:02
5) Shabazz Palaces- An Echo From the Hosts that Process Infinitum-3:17
6) Anti Pop Consortium- Timpani- 4:11
7) Count Bass D & Insight- Risk Taker- 2:37
8) Illogic- Hollow Shell (Cash Clutch)- 5:27
9) The Roots- Something in the Way of Things (In Town)- 7:16
10) Digable Planets- La Femme Fetal- 4:35
11) Common- Cold Blooded- 4:58
12) Black Milk- Distortion- 6:21
13) Edan- Time Out (Segue)- 1:07
14) Edan w/ Mr. Lif- Making Planets- 2:54
15) Divine Styler- Livery- 5:03

If any of you know of any other psychedelic hip-hop songs, please let me know in the comments.

Until next time...