Finally. Epic. The Best Albums of 2007.

It's finally here, and Pulp and Circumstance is probably the LAST music blog site to unveil the "Best Albums of 2007" since it's a mere 12 and some change hours to a brand new year of sweet, sweet musical treats.

This year was really all about the electronic influence on the indie world and the explosion of blips and bleeps with some serious innovation, making all those straight guitar bands work a little harder to get the kids moving. For Pulp and Circumstance, this was a serious discovery in everything technology-driven and the like, and it was all about kicking up the heels and making way on the light-up dance floor.

And it was about the access and prominence of bands from every corner of the globe--from the Brazilian baille funk driven indie electronic hybrid thanks to Bonde do Role, to the amazing electronic-rock hybrid of New York's own producer James Murphy of LCD Soundsystem, which absolutely exploded with the record Sound of Silver, giving DFA Records one of the most sublime years to date. It was even about Iceland digging out a pretty descent recognition for itself not for Sigur Ros or Bjork but for the Icelandic Airwaves electronic acts like FM Belfast.

But most importantly, this year was about some pretty excellent records from start to finish. Pulp and Circumstance has picked it's Top 15, and kept it at Top 15. No more, no less. And this Top 15 will only display those albums that P&C just adores, STRAIGHT THROUGH, as a concept, as a collective whole, and for how each individual track stands up on its own, away from its partners in crime--because that's just as important.

So without further babble, Pulp and Circumstance brings you "The Best 15 Albums of 2007".

Enjoy! (er, Let the mudslinging begin!)

15. Mini People in Coney Island - Nara Dreamland (digital self-release)
This digitals only self-released lo-fi bedroom project out of Brazil takes you on an amusement park trip. Completely breath-taking considering it was made entirely on a little casio keyboard and a trinket kereokee mic. One of P&C's best up-and-coming artists discoveries in 2007.
[Mini People in Coney Island - Brooklyn.]

14. Grinderman - Grinderman (Mute)
Any project involving Nick Cave is a project worth checking out. And one of their tracks is "No Pussy Blues". Enough said.
[Grinderman - No Pussy Blues.]

13. Pantha du Prince - This Bliss (Dial)
His remix of Animal Collective's "Peacebone" really put him on the map this year. But his album is even better. Experimental House music done so experimentally well, I want to play it in my house all night long.
[Pantha du Prince - Moonstruck.]

12. Battles - Mirrored (Warp Records)
Math rockers really lived up to the hype. "Atlas" is definitely one of the BEST tracks of the year, and perhaps the past 10 years. A trip worth taking. A serious technology journey.
[Battles - Atlas.]

11. El-P - I'll Sleep When I'm Dead (Definitive Jux)
Innovative, alternative hip-hop from the son of jazz pianist Harry Keys. A dense, aggressive trip through word play, fantasy, and some sincere metaphor. Some Americans are producing good hip-hop. El-Producto is one of them.
[El-P - Tasmanian Pain Coaster.]

10. Animal Collective - Strawberry Jam (Domino Recording Co.)

The often erratic, noise making, layered upon layered sound we've come to love so much about Baltimore-bred, Brooklyn-based outfit Animal Collective reaches new heights on Strawberry Jam. The pop sensibility that makes Panda Bear so reminiscent of Brian Wilson meets the bizarre nature of Avy Tare, and together, they make magic. The utterly strange single "Peacebone" is more infectious than Mum's cooking ("The taste of your cooking could make me bow on the ground") and the hippie undertones of "Chores" is simple and appealing even to the non-hippie like Pulp and Circumstance. Each song just sort of heats you up with warmth, and then takes you on a most weird trip, before hitting you with those washed out screams and yealps. You don't need acid when you've got Animal Collective.
[Animal Collective - Peacebone.]

9. Jarvis Cocker - Jarvis (Rough Trade)

Well, this is Pulp and Circumstance and a one Jarvis Cocker is our inspiration. The Pulp frontman flexes his solo muscle on the aptly titled Jarvis, and he sure does it much like any singer would when heading out to open his own wings and fly alone. Yet while the album is sentimental and strong pop that made Jarvis such a prominent singer-songwriter with the 90s band Pulp, its his ability to stay away from introspection that moves this record around in circles around my room. Not only does Jarvis make the kids want to dance on "Fat Children", but he makes them sentimental on "Big Julie" before making them want to light up a joint on "From A to I". Jarvis has finally met his best, and Pulp and Circumstance didn't think that was possible after a thrilling career as Pulp frontman. And like "This is Hardcore" and "His n' Hers" before The Jarvis Cocker Record, "Fat Children" makes us feel he is the central figure once again, and we want to be his central figure in return. A pure, simple, clean, relaxed, triumph in narration and metaphor. Golf claps.
[Jarvis Cocker - From A to I.]

8. Panda Bear - Person Pitch (Paw Tracks)

Noah Lennox, the Brian Wilson pop magic half of Animal Collective, just throws everything indie rock into his solo record, which wafts of sonic explosion, ridiculous metaphor, and some serious technology despite wanting to make a bit of an ode to the 60s pop he mimics so well with sticky sweetness. This sweet pop is what drags you in, but it's the instrumentals and brilliant loops on tracks that keep you in. It's experimentation with technology continually has Pulp and Circumstance coming back for more--even well after its release last March.
[Panda Bear - Bros.]

7. Modeselektor - Happy Birthday! (BPitch Control)

The obsession with electronic dance hip-hop hyrbids and collaborations with the French was insane for Pulp and Circumstance this year. Released stateside on Pulp and Circumstance's Birthday, the aptly titled "Happy Birthday!" seemed to sing just to me. Favorite track "2000007" featuring the brilliance of French hip hoppers and oft Modeselektor collaborators TTC thrilled with every zeho, zeho, sept! This Berlin-duo takes the listener on the best moments through techno's rumbling history with four-to-the-floor fun. Unlike most of the strict, sometimes difficult to listen to lack of melody German techno artists, this is nothing but loosey-goosey blips and bleeps and techno cut ups that would thrill anyone. And there's something for everyone, even those moody Radiohead fans who adore Thom Yorke--he guests.
[Modeselektor feat. TTC - 2000007.]

6. The Field - From Here We Go Sublime (Kompakt)

Who doesn't adore trippy, wistful, energetic, lethargic electronic music? And who doesn't adore trippy, wistful, energetic, lethargic electronic music in 2007? "A Paw in my Face" was one of P&C's Best 30 Tracks of 2007 and if you haven't heard it, or the entire From Here We Go Sublime record, then shame to you. And shame on you. Swedish ambient electronic is all the rage kittens, so take a run through The Field and free yourself.
[The Field - A Paw in My Face.]

5. Dan Deacon - Spiderman of the Rings (Carpark Records)

Dan Deacon, the absurdest electronic artist from Baltimore, quite puts himself on the map and creates almost a cult of Deacon followers thanks to his full-length on Carpark, Spiderman of the Rings, which Pulp and Circumstance was absolutely addicted to in 2007. "The Crystal Cat" is just this volatile explosion of weird sound and even more weird vocals but it can even make the most shy guy (cough P&C reviewer Esteban Miguel cough) move insanely to the beat. Dubbed one of the newest members of the "Future Shock" genre, Dan Deacon is shocking and future rocking the little indie kids. With an immense live show, the tracks on Spiderman of the Rings come alive in ways never thought possible. Thanks to this record, Pulp and Circumstance is gonna get "it's highlighters on....get my face paint..."
[Dan Deacon - The Crystal Cat.]

4. Arctic Monkeys - Favourite Worst Nightmare (Domino Recording Co.)

After one of the most impressive explosions of 2006 with Whatever People Say I Am, That's What I'm Not, The Arctics had quite some hype to live up to, thanks to an aggressive British press. Alas, the kids did not disappoint despite a line-up change with newly grafted bassist Nicholas O'Malley and haven't missed a step in two years. Favourite Worst Nightmare was no nightmare and absolutely moved me for the first few months of 2007 and carried me into the summer without burnout, something that barely happens in Pulp and Circumstance's musical experience. The record is quite heavier than the curt, quick stories of nightlife in Sheffield, and Alex Turner flexes his poetic muscles in new, metaphoric ways that seem much too mature for his mere 21 years. The band does much more of what their good at--straight guitar rock without fancy strings and everything else that usually impales a follow-up disc for the insanely hyped. There is absolutely no uninteresting track on this record and the metaphor of a Teddy Picker arcade game to the desired hopes of the young to get famous in the 21st century carries itself to the addicted, rhythm movin' wood block beats from the newly power-drummin' Helders on "Balaclava". And nothing's better than Alex Turner completely sentimal on "Do Me a Favour" and the brilliant love song "505" (a rarity from this band) all somehow without pandering to the screaming girls. Perfection in 2007 guitar rock. Absolutely.
[Arctic Monkeys - 505.]

3. Simian Mobile Disco - Attack, Decay, Sustain, Release (Wichita Recordings)

James Ford and Jas Shaw turn Simian Mobile Disco from a one-offs singles duo for Kitsune to a full-on LP, touring duo that was sure to trounce every club crowd with infectious attack, decay, sustain, and release across the world this year. The entire record, from start to finish, does just as it says it will--attacking the listener with some insane blipping, bleeping before decaying it all into an almost whimper, before building it all up and sustaining it in magic and releasing a terror on the ears...a thrill the whole way. James Ford had one of his busiest years to date, producing the thrilling #4 record Favourite Worst Nightmare, along with the Mercury-prize winning nu-rave Klaxons record, to destroying us with SMD and creating much anticipation for his drumming space on the apparently 2008 record by Miles Kane and Alex Turner. There will never be too much James Ford or Simian Mobile Disco in our indie space and they absolutely made "hustling", "sleep deprivation", and "tits and acid" the hottest things in 2007, making me totally "believe" in everything they touch turning to gold. "I Believe", James Ford and Jas Shaw.
[Simian Mobile Disco - It's The Beat.]

2. M.I.A. - Kala (XL/Interscope)

What can Pulp and Circumstance say? Two years on from her debut Arular, M.I.A. is continuing to shock the indie world with innovation, distinct sound, and politics with latest record Kala, which held a space on almost every music bloggers Best of Lists this year. A real trip in world music, this record features some aggressive beats and forceful rhythms, creating quite a riot in the indie world. What's more? The record was produced by the UK's Switch, who is seemingly one of the greatest dirty house producers. Bravos to that because it is clear from this record his influences were many. And of course, Diplo, Blaqstarr, and MC Afrikan Boy lend their help. I love all the twitterings in the background of most tracks from Tamil-language films, including the howlings of little children. It even features a Bollywood cover in "Jimmy". And tune "Paper Planes" was Pulp and Circumstance's #1 track of 2007. Those producers have The Clash's "Straight to Hell" to thank for moving that track into a sing-a-long space, making it a stand-out track in an album of pretty brilliant chaos.
[M.I.A. - Paper Planes.]

1. LCD Soundsystem - Sound of Silver (DFA Records)

As Pulp and Circumstance has mentioned before, DFA had one of the most thrilling years to date, with label founder James Murphy, the brilliance behind LCD Soundsystem, having created the album that helmed the explosion. Unlike LCD's previous release, this album is much cleaner--a sleek hybrid of electronic and rock music, a thrilling experience for anyone who likes both genres. The reason this song makes #1 album of the year at Pulp and Circumstance is because of the sheer precision from start to finish on this record; Murphy clearly has streamlined his sound and it never did any artist so much good. There are little cuts and jabs and Murphy just absolutely kills it on tracks "Someone Great", "All My Friends", "Us vs. Them", and of course, the brilliant "Get Innocuous!", which absolutely would make anyone dance. P&C doesn't care who you are. You'll be dancing to any of the aforementioned tracks, and you'll continually head back to this album as a "party uniter" and one of the most thrilling ways to remember 2007. And what makes "Someone Great" one of the best tunes on the album is the catchy pop underhook, the incredible synthesizer jabs, and of course, glockenspiel! "North American Scum" is absolutely the best example of electronic meets hybrid--James Murphy's gutteral, nasally growl on this track is something to be remembered. And with closer "New York, I Love You But You're Bringing Me Down", is so sentimental it inks James Murphy as not just a producer of some great indie songs, but a real songwriter. And that is why LCD Soundsystem's Sound of Silver is our #1 record of 2007.
[LCD Soundsystem - Someone Great.]
[LCD Soundsystem - All My Friends.]
[LCD Soundystem - North American Scum.]

Here's to an even more inventive list in music for 2008! Cheers!

It's called the Track of the Day; Ain't Nothin' But a House Party!

Photo Above by Alan Lomax

And the track of the day is...

The Show Stoppers - Ain't Nothin' But a House Party (1968)

It's New Years Eve people, and so Pulp and Circumstance is bringing you an appropriate track of the day, particularly if you are having a house party or perhaps attending a house party--the only proper way to ring in New Years unless there's an amazing band getting down at a gig somewhere (in Boston? nada!).

This track of the day comes from the brilliant rhythm and blues group The Show Stoppers, a Philadelphia-based group that saw zero stateside success but had one hit thanks to the UK in "Ain't Nothin' But a House Party", our track of the day. The single was released on local Philly label Showtime, and sold about 40,000 copies in the area but did not see national release capability until the rights were bought up by Heritage Label, an umbrella of MGM.

DJs in the UK began spinning the track like mad and demand was high for The Show Stoppers to tour across England, despite nary a single person outside Philly knowing who they were in America. Alas, loads of r&b knockoff groups pretended to be The Showstoppers and toured across music playing the hit--those knocker offs included The Persuaders, who eventually went on to score a hit with the brilliant tune "A Thin Line Between Love and Hate".

Despite the Show Stoppers having a pretty excellent lineage in the music business (two of the members' brother was Soloman Burke, the famous soul man), they were the products of mismanagement and of course received nary a coin for their famous UK track.

But, despite that, "Ain't Nothin' But a House Party" can really move you. So, if you're going to a house party or hosting one, kick your day into high gear with our track of the day.

Happy New Years Eve! And be safe. Enjoy!
[The Show Stoppers - Ain't Nothin' But a House Party.]

Best Gigs of 2007: P&C's Jenna! flicks her lighter.

Pulp and Circumstance reviewer Steve Ryan brought you his best gigs of 2007 yesterday, all but one of which I attended with him.

And now, I've finally compiled my list, which is similar to his in some areas because gigs with Steve, known as Esteban Miguel in most circles, are quite a time.

My first concert was Ray Charles at the ice skating rink in Waterville Valley, New Hampshire when I was a baby lass, a mere six or so years old. I wore a candy-stripe turtleneck and fell asleep halfway through by over-mesmerization of Charles working the keys and evidently stayed asleep until I woke up in my bed the next morning. But so began my love affair with music; the anticipation that leads up to a gig; the preparation, which oft includes repeated listening of a just dropped record in order to be beyond familiar with a new tour set; and of course, the attempts to fight for perfect position once the gig kicks off, which can be challenging for a person of such small stature and a need to feel completely surrounded by dancing and people.

I've seen too many gigs to count--everything from Tina Turner, where I learned the fine art of the hip shake, a woman's ability to dance on high in some pretty sick stilletos, and the pleasure of having a father's shoulders to sit on for clear stage vision--to basically popping my eardrums at a tiny, decrepit basement gig in Washington D.C. where I was introduced to Americans doing Sweedish death metal in The Darkest Hour. And I've seen everything in between.

And this year, I sampled some pretty eclectic shows...so without further babble, My Top Five Gigs of 2007.

5) Bonde do Role in Harper's Ferry, Allston Rock City (September)

This Brazilian funk outfit wowed me at a venue I don't generally love to see gigs at; The sound just hit me immediately and the kitties moved around the room like crazy, just kicking up their heels and dancing the night away to some bizarre rhythms. I haven't left a gig so sweaty without being in a totally metal-core moshpit in years, so that says a lot. The groups energy was intensely high and "Office Boy" just knocked my socks off. No one took video because there was just too much dancing to be had, the mark of a pretty brilliant gig. Just dance magic the entire time and a real cultural indie event.

4) Bloc Party in The Orpheum, Boston (March)

After finding A Weekend in the City a bit of a somber, depressing turn for one of my favorite British indie acts in quite some time, I was jazzed to see how the new record would come across live dumped into a set with the highest of highs in Bloc Party madness... how would they transition from "Waiting for the 7:18" into such pushers as "Helicopter". The venue is a complete crap-shoot--no drinks out of the basement, seats (blah!), and a weird vibe in the balcony, which definitely swayed like crazy (its an old theatre, old!) during "Like Eating Glass", which proved to be the best tune on the night the energy was so high, and my heartbeat similarly off the charts at the fear of the balcony crumbling. Despite the fights with the barkeeps for denying me drinks, I did accidently panty-moon all the geeky indie kids after the gig because I wore a skirt without tights and the wind really kicks up when you hit the street. Hurrah!
[Bloc Party at the Orpheum. A really sloppy capture of "Banquet".]


3. Dan Deacon in The Milky Way, Jamaica Plain (September)

This late-night secret after gig to his show with Simian Mobile Disco, White Williams, and Girl Talk in Avalon was a total surprise, having been informed of it just two hours before thanks to Mr. Deacon himself. Of course, Steve and I were severely buttered up by the time we were meant to head up to J.P. and we didn't know if it was physically possible to hoof it all the way. After informing a group of kittens about the secret gig, they offered us a ride since they missed his set in Avalon. The caveat? We'd have to ride in their trunk since there were already six of them. Steve was game, probably after that zillion drinks loosened him up, and we entrusted our lives with said strangers and made it to The Milky Way alive. After enduring some insanely heavy bands to start--yes, one used a trash can lid as a high hat for his drum kid--and Steve accidentally called a woman at the bar "sir", Dan set up his little table of ipods, guitar pedals, keyboards and bananas before the small group packed tightly around his sweaty self in his signature parrot t-shirt and away we were with "Wham City". The energy was so high because the gig was so small, the basement so sweaty, and the drinks flowing. And trippy skull, who had just been returned to Dan after being swiped earlier that week, was in full-on crazy madness light up mode. Oh. And as Steve mentioned, two girls (one clearly more into it than the other) were voraciously making out practically on top of Steve. A blast! We finally made it home well after 3 a.m.
[See pictures and read our review of the gig here.]

2. Simian Mobile Disco with Girl Talk in Avalon, Boston (September)

After falling immediately in love with Simian Mobile Disco's 2007 release Attack, Decay, Sustain, Release when it hit stores this fall, I absolutely could not contain my excitement to see them play in Avalon with Girl Talk for a sold-out gig, though SMD should have been the headliners. James Ford and Jas Shaw worked the nobs with such high energy and Jas can really knock his head. The intense bug like zapper lights set up all around their equipment seemed as if it was attracting all of the energy from the SMD men and spitting it back out on the crowd, shocking it with electricity and some serious indie electronic dance. Favorite tracks included "I Believe" and "I Got This Down", which saw James Ford shaking his fist at the crowd before the duo took such a proper bow and packed up their equipment. Steve and I danced with some my random people and I eventually met James Ford backstage and he was such a sound guy. Brilliant! The absolute highlight of my year. Claps all around for SMD; and the energy during Girl Talk wasn't half bad. The indie kittens almost convinced shy guy Steve to get up on-stage and dance and Greg Gillis just killed it on the laptop. Plus, Steve dancing like mad to electronic music is the BEST.THING.EVER.
[Read our review and see photees of me and James Ford, one half Simian Mobile Disco here.]

1. Arctic Monkeys in Lupo's Heartbreak Hotel, Providence, R.I. (September) and Arctic Monkeys in Avalon, Boston (May)

Pulp and Circumstance got two go-rounds with the Arctics stateside tour supporting new record Favourite Worst Nightmare (Domino Records), having seen them on Mother's Day in Avalon and then again in September at Lupos in Rhode Island. Both thrilling! Like Steve mentioned, the second time around, Alex and Co. were even more tight (A feat since they were incredible in Avalon), with continuous play between songs and witty banter from a usually curt Mr. Turner, who loved the nodding and bobbing of the crowd, which he described as "synchronized bouncers"--I think the difference was seeing him at Lupo's at the very start of the tour, versus Avalon, which was almost toward the end, which you could tell they'd reached peak and it was all business by then, unlike the freshness of a new tour as evidenced in Lupo's. The setlist was even more phenomenal, including the amazing tune "Mardy Bum" from their first record Whatever People Say I Am That' s What I'm Not, which included a pretty on-key singalong from the crowd. "Dancing Shoes" was quite a high, with the kitties in the middle of the mosh just ripping off their shoes and throwing them in the air in unison, along with tons of beer bottles (plastic! so no injuries!). Thanks to some incredibly pucker up Jack and Gingers (Lupo's does not skimp on the whiskey), I lost my mobile for a bit and then, the next day, my voice, thanks to a screaming singalong to Pulp's "Common People" and The Smiths "The Headmaster Ritual" on the way home. I blame the whiskey and Steve for starting it all. Just a blissful adventure which including shots with some Brits at the bar and a kid just visiting stateside from Mad-chester who had yet to see Arctics in the UK. He was amazed by the velvet banquets and the chairs everywhere. "No way people would keep those on the floor in Manchester," he told me. "It'd be quite a riot." Cheers to chair riots for Arctics! See photees and our review of the Lupo's gig here.
[The Arctic Monkeys at Lupo's Heartbreak Hotel.]
[See us all dancing like crazy on "D is for Dangerous." Steve and I were right straight in the middle. Sweaty as hell! Fun!]
Bonuses!
[Watch Arctics do "When the Sun Goes Down" at Avalon in Boston, the gig we were at in May. Brilliant!]
[Amazing Alex Turner strumming and crooning on "Dancing Shoes" in Avalon.]

What do you say Steve; let's head to our Top Five Gigs together in 2008.

It's called the Track of the Day: Wurlitzer Jukebox.

And the track of the day is...

Young Marble Giants - Wurlitzer Jukebox (off 1980's Colossal Youth)

Pulp and Circumstance has always adored the haunting minimalism of this Cardiff-based post-punk outfit, which released just one full-length record in 1980's Colossal Youth for Rough Trade Records.

Comprised of the stripped down musicality of brothers Stuart and Phil Moxham and the restrained vocals of Allison Statton, the band formed in 1978. Peter Joyce helped the band with the little bits of drumming since they didn't have one, but everything was pre-recorded with some interestingly techie stuff for the time since programmable drum machines had yet to be invented. Instead, Joyce built up his own synthesizers and homemade drum machines and worked his magic on the tape reel.

Their one record was also quite unique in that Young Marble Giants often took the first track laid down without multiple attempts in order to achieve a "live" quality that wasn't overworked. It took just three days to complete in studio. There was absolutely no dubbing, with the exception of a few vocal distortions and some slide guitar, which is why its so minimalist and so adored by Pulp and Circumstance.

Colossal Youth saw re-release glory this fall, which Pulp and Circumstance reviewed here. The treatment includes a bonus disc with demos and rarities and all that neat stuff including their John Peel Sessions, so if you have yet to check it out, do so because the record was painfully out of print for quite some time. Hurrahs for YMG revivals!

Our track of the day is a catchy, yet sparse tune from aforementioned album. Allison Statton just wraps you up in her non-chalant but haunting voice and manages to slightly roll you around the room without exertion or pushes of any kind. A pure trip.

Enjoy the quietest post-punk band ever. And get yourself an angular haircut while at it.
[Young Marble Giants - Wurlitzer Jukebox.]

The Best Gigs of 2007: P&C Reviewer Steve Ryan Flicks His Lighter.

Pulp and Circumstance will be unveiling its own Best Gigs of 2007 but first, our most formidable reviewer and good good friend Steve Ryan has his own round-up of the best foot-stompin, sweat crazed, booze filled memories on the year.

And Pulp and Circumstance was at four of his Top Five gigs and gifted him the chance to review Morrissey at the Orpheum, as well. He was sober driver on our trip to Providence so I could partake in some serious Whiskey at Arctics, where I lost my cell phone for awhile; he waited with me after the May - Arctics gig in Avalon when I gifted Alex "Reality Sandwiches"; he fought the barkeeps for me at Bloc Party when they denied me for having an out of states ID; and he put his life in jeapardy when hopped in some strangers trunk (literally!) with me to get to the late night gig Dan Deacon played at the Milky Way in Jamaica Plain.

So, without further babble, enjoy Steve Ryan's Top Five Gigs of 2007--with video!

I must warn folks I only attended a handful of concerts this year...or my entire life. But concerts can be magic. Seeing Radiohead at Harborlights in Boston back in 1997 pretty much made me fall in love with music...even though I had a major crush on it already. So here's some of the moments that reminded why music is my hot hot (I'm too bashful to finish the reference. See CSS.)

1) Arctic Monkeys at Lupo's Heartbreak Hotel (Providence, RI): Saw the Arctic Monkeys at Avalon several months before this show but this blew that concert out of the water. Alex Turner was very playful, talking to the audience and noting the couple bouncing up and down near the bar. The crowd was also lively, with many moshing, sort of, up front. It was energy in a bottle, and the band was tight.
[Arctic Monkeys do "Mardy Bum" during their second go-round stateside to support 2007 record Favourite Worst Nightmare. They didn't play "Mardy Bum" the first time around, so this was an added surprise.]

2) Dan Deacon at the Milky Way (Jamaica Plain): I'm not a techno guy, but this secret gig after his Sept. Avalon show was sweet. After withstanding some really bizarre music beforehand (I think one band used a trash lid on his drum set.), this was a treat. Folks packed tightly around Dan Deacon as he turned his sweaty back toward the small crowd and went crazy. Oh. And two girls were making out in front of me.

3) Morrissey at the Orpheum (Boston): This birthday surprise was pure joy. Being a huge Smiths fan, I was thrilled to hear some of the band's classic spread through Morrissey's set. Morrissey was his chatty, often witty self. Fans tried to maul him toward the end of his set. It was good times. Did I mention they showed East of Eden wardrobe tests on the screen behind the stage as Morrissey's band set up? Not as if there's anything wrong with that.
[Morrissey at the Orpheum. October.]

4) Bloc Party at the Orpheum (Boston): What impressed me the most about this concert is that the upper balcony was shaking, friggin' shaking, during Like Eating Glass toward the end of the set. I first thought it was the Guiness I drank but soon enough I learned the truth. The ground was moving below my feet. Blue Light was the highlight of the night for me. I was really spacing out on that one...or maybe it was the Guiness.
[A montage of Bloc Party from the night. Featuring 1-minute snips from tracks off both records, Silent Alarm and A Weekend in the City.]

5) Rilo Kiley at Avalon (Boston): I don't own a single Rilo Kiley record. Not one. But I went to the concert because Jenny Lewis. (I'm a big fan of redheads.) I'm also a big fan of glasses...and some gals in the audience were sporting the cutest astigmatisms. As for the music, it was a mellow night but in a good way. Portions for Foxes was a song I was already familiar with and enjoyed thoroughly. And despite my unfamiarity with the tunes, I was easily sucked into the music...I still don't own a Rilo Kiley CD but that might soon change.

[Rilo Kiley does "Close Call" and "Portions for Foxes" in Avalon.]

Filed by Steve Ryan, 12/29/2007

It's called the Track of the Day: Fistful of Love.

And the track of the day is...

Antony and the Johnsons - Fistful of Love (off 2005's I Am a Bird Now)

We haven't mentioned New Weird American artists since the release of Devendra Banhart's latest record and we can't stop spinning Antony and the Johnsons today because Pulp and Circumstance was just discussing the absolutely brilliant year DFA Records had (especially with the LCD Soundsystem record Sound of Silver), which included that little single from Hercules & Love Affair (Classique #2/Roar), which featured some amazing guest vocals from Antony and the Johnsons. This little quiet gem almost made our Top 30 Tracks of the Year list. Almost!

So it got us thinking again about Antony and the Johnsons.

Antony and the Johnsons is pretty much the master-mind of Antony Hegarty, who was born in the UK but has spent much of his time making music and studying stateside; born in West Sussex, he previously lived in Amsterdam and San Jose, Calif. before heading to New York University to get a degree in experimental theater and thusly embarked on a pretty interesting musical career, which is oft described as "dark cabaret" or "chamber pop". Hegarty was moved as a kid by the synth pop explosion and has modeled much of himself in the likes of Boy George.

Our track of the day comes off his Mercury-Prize winning record I am a Bird Now, which was released on Strictly Canadian in 2005. The Kaiser Chiefs created quite a controversy when he beat them to the coveted British music honor, claiming he wasn't "really British" since he lived predominately stateside. They later retracted, saying they never meant to denounce the quality of Antony's record.

Antony and the Johnsons have produced 3 LPs for Strictly Canadian and 5 EPs and Singles, for both Strictly Canadian and Rough Trade Records. Oh, and there was a little lives record in 2003. He's often catagorized in that little musical sect dubbed "New Weird America" along with Devendra, who has worked with Antony before.

Should you look out for more in 2008? Why, yes. Pulp and Circumstance has resurrected some old Antony and the Johnsons records in anticipation of the latest LP, which will drop in 2008 and is apparently called The Crying Light. Label Strictly Canadian claims it will be released by springtime.

So enjoy!
[Antony and the Johnsons - Fistful of Love.]

It's Official. The Best Tracks of 2007.

It's finally here kittens! Pulp and Circumstance is unveiling its Top 30 Tracks of 2007, a list which has been tweaked and prodded for weeks now with no end in sight, so instead of continuing to add and delete, it's just going up and that's that.

2007 may have been one of the most important musical years for me. I started wee little blog with much hesitation in writing about music because it is such a personal passion of mine, I was afraid to taint it with prostration and constant discussion. But it was happening in the same manner on a smaller scale already; I was responding to no less than 10 emails a day from friends looking for music suggestions, responses to releases, and what I was playing in my car the last time I saw them, so I decided I'd make it a more public forum of exchanging musical gifts.

And thanks to wee little blog (and the friends that inspired it), I've discovered even more music than I ever would have otherwise. So, I have my friends to thank for enhancing my listening experience and opening my ears (and slowly causing noise-inducing hearing loss--ask my doctor, tis true!) to this quiet, rumbling underworld of timpani and the flicking of switches on the d.j. table.

I hope Pulp and Circumstance's Best Tracks of 2007 will surprise you in some areas and please you in others; there are some standards picked here that are similarly bouncing about in all the other favored music blogs, from M.I.A.'s record Kala rocking us with serious innovation yet again, two years on from thrilling, mind-numbing debut Arular, to James Ford and Jas Shaw taking Simian Mobile Disco from the one-off vinyl 12-incher releases on Kitsune to the world of LPs and albums as one concept with Attack, Sustain, Decay, Release, which saw their dance electronic attack the listener, before doing as promised and sustaining the sound, breaking it all down in decay, before releasing a monstrous explosion as if a Tyrannosaurus Rex were eating those little indie kids one by one. Pure genius.

And there are a few more personal picks; tunes P&C couldn't stop spinning; tunes so good they weren't even discussed in Pulp and Circumstance's white space because I couldn't even figure out how to describe them. And tunes discovered thanks to blogger friends.

To the readers; The Best 30 Tracks of 2007, in P&C's opinion. Please feel free to sling the mud if you don't agree and tell us what was left off--a travesty in your 2007 musical listening pleasure. P&C wants to hear from you.

So, here's to 2007! The Best 30 Tracks on the Year. Our album picks forthcoming...

(It goes as follows, #1 is #1 in our opinion, and so forth.)

30. Ice Cream - Muscles (Guns Babes Lemonade, Modular)
29. Everything Flows - Super Extra Bonus Party (Super Extra Bonus Party LP, no label)
28. Crimewave - Crystal Castles (single, Trouble Records)
27. The Party - Justice feat. Uffie (single, Ed Banger)
26. Hustler - Simian Mobile Disco (Attack, Decay, Sustain, Release, Wichita Recordings)
25. Pots and Pans - Les Savy Fav (Let's Stay Friends, Frenchkiss)
24. Fat Children - Jarvis Cocker (Jarvis, Roughtrade Records)*released stateside April 2007
23. A Paw in My Face - The Field (From Here We Go Sublime, Kompakt)
22. Float - Sissy Wish (Beauties Never Die, Sissy Music)
21. Other Girls - Tigercity (Pretend Not To Love EP, no label)
20. Bloodline - Monkey Swallows the Universe (The Casket Letters, Loose)
19. Homecoming - The Teenagers (single, Merok/XL)
18. Us vs. Them - LCD Soundsystem (Sound of Silver, DFA)
17. Peacebone - Animal Collective (Strawberry Jam, Domino Records)
16. Cold Days from the Birdcage - The Twilight Sad (Fourteen Autumns and Fifteen Winters, FatCat Records)
15. Foundations - Kate Nash (Foundations EP, Fiction Records)
14. To the East - Electrelane (No Shouts, No Calls, Too Pure Records)
13. Brooklyn - Mini People in Coney Island (Nara Dreamland, digital self-release)
12.Tropical - FM Belfast (Radio, no label)*technically dropped in 2006, undiscovered by Pulp and Circumstance until 2007
11. Lend Me Your Face - Fight Like Apes (How Am I Supposed to Kill You If You Have All The Guns? EP, Fifa Records)
10. I'm Not Going To Teach Your Boyfriend How To Dance With You - Black Kids (Wizard of Ahhs EP, self-release)
9. I Believe - Simian Mobile Disco (Attack, Sustain, Decay, Release, Wichita Recordings)
8. North American Scum - LCD Soundsystem (Sound of Silver, DFA)
7. A Sunday Smile - Beirut (The Flying Club Cup, 4AD Records )
6. Oh My God - Ida Maria (Single/Demos, Nesna Records)
5. 2000007 - Modeselektor feat. TTC (Happy Birthday!, BPitch Control)
4. Atlas - Battles (Mirrored, Warp Records )
3. The Crystal Cat - Dan Deacon (Spiderman of the Rings, Carpark Records)
2. Someone Great - LCD Soundsystem (Sound of Silver, DFA)
1. Paper Planes - M.I.A. (Kala, XL/Interscope)

It's called the Track of the Day: Cold Days from the Birdhouse

And the track of the day is...

The Twilight Sad - Cold Days from the Birdhouse (off 2007's Fourteen Autumns and Fifteen Winters)

This Scottish indie band was one of Pulp and Circumstance's favorite discoveries of 2007 and it's pathetic The Twilight Sad are getting their first mention in this space just days away from 2008. What was P&C doing not delivering you the sweet melodies and quiet instrumentation of this brilliant little gem from just outside Glasgow?

The Twilight Sad made themselves a little spot in the indie scene just two years ago and managed to get a gig with FatCat Records, which released their debut this past April called Fourteen Autumns and Fifteen Winters, which features our track of the day. The label also played host to a five-track EP called The Twilight Sad a year before, which received limited release and found itself on only stateside shelves. P&C briefly heard this little EP gem via a friend as background music but it never quite caught on despite a vivid memory of thinking at the time "What is this? Intriguing".

What's great about this indie band is its sentimentality, particularly on "Cold Days from the Birdhouse" and the distinct vocal stylings featuring a pretty descent Scottish dribble from lead singer James Graham. It gives them an edge in an indie world with loads of similar sounding bands, which is why P&C regularly spins The Twilight Sad in order to escape, knit, or survive a tedious train ride downtown.

Their first single, "That Summer, at Home I Had Become the Invisible Boy", was released this year on 7-incher and most definitely plugged their push pin in place on the indie world map.

So enjoy our track of the day! Pitchfork sure did; it made their list of Top 100 tunes of 2007. Hurrah for The Twilight Sad!
[The Twilight Sad - Cold Days From the Birdhouse.]

Blogging Fresh: A Year in Wrap-Up.

If you love lists, and love blogger lists, and want a nice concise vocal package of all the amazing blogs around the internets, then nod over to Blog Fresh Radio's Year of 2007 wrap-up, which asks loads of member bloggers what made their Best Of Lists--including surprises, or things left off one bloggers list seen everywhere else (loving Bradley's Almanac response to not ever being emotionally connected to Spoon; completely agreed and excellently, Bradley hails from Boston like P&C and is amazing at what he does, having been at the forefront of music blogging, so check his site)

There's also some gems from The Finest Kiss blogger, when he mentions being "completely bored" with The National's Boxer record and its rampant presence on most bloggers year end lsits, which P&C agrees with rightly so. It just doesn't "wow" P&C either.

P&C has mentioned Blog Fresh before, and if you don't remember, check it out here.

The Year of 2007 Wrap-Up includes samples of the music discussed and everyone is quite articulate in music talk so definitely go take a listen. Its a pretty decently long podcast, so sit back and enjoy!

P&C's New Years Resolution? To make it to an episode of Blog Fresh. Help us do it!

Updates: Lists!

Pulp and Circumstance promises to forge on with its A Year in Music: Pulp and Circumstance picks The Best of 2007 in the coming days. I've been feverishly making lists and I think I've got it all in order...

P&C will unveil "The Best Tunes of 2007", "The Best Albums of 2007", and "The Best Gigs of 2007" starting today and heading right up to the ball drop. We've decided to unveil the first two mentioned right before the New Year, so expect them more around the 29th and 30th or 31st than sooner.

We'll also bring you a pretty swankin' New Years Eve mix we've been concocting for your partying pleasure--a funny instance coming from P&C since we don't believe in celebrating New Years. Expect an explaination along with our mix, which will drop on the 30th so you have plenty of time to download it for said party plans.

Soo...get ready!

If you missed some of our previous best ofs, fear not:
Check out The Top 10 Songs Totally Burned Out in 2007: Overexposed here.
Check out The Top 10 Dance Traxxx of 2007 here.
Check out The Top 5 Songs P&C Never Thought It Would Adore but Did, in 2007 here.

Oh, and don't forget to download P&C Contest Winner Pete's " It's All in the Fruicake: Best Tracks of 2007" mix-up here.

It's called the Track of the Day: Amplifier.

And the track of the day is...

The dB's - Amplifier (off 1982's Repercussion)

The dB's was one of the truest of power pop groups in the late 1970s and early 1980s, when the boys from North Carolina formed in New York City. The group was known best for its lush instrumentation managing to mix the experimental melodies with the strict rhythms of pop music.

Most people didn't buy dB's records at the time, despite their critical acclaim. Since then, they've developed a bit of a cult following and Pulp and Circumstance discovered this "left of the dial" band in college, along with many of our friends. The track of the day features much of that pop brilliance and jangly guitars--just a great tune to dance about to and knock your head.

"Amplifier", about a suicidal man whose lover left him nothing but his amplifier (thank god she didn't hock that!), features some serious rockabilly over those pop hooks and was the band's most successful single. While it first appeared on Repercussions, it was also smacked on the band's third record, Like This, because by that time it's success afforded them a chance to shoot a music video for the single.

Enjoy!
[The dB's - Amplifier.]

Lomax Revisted in the Land Where the Blues Began.

Sorry Pulp and Circumstance has been so sidetracked from the blog-o-sphere lately, but I've been seriously immersed in the above book by Alan Lomax, gifted to me by my amazing Mum for Christmas. We've mentioned Alan Lomax a million times here at P&C, so go back and check out some of the previous posts if you have no idea what's going on.

The Land Where the Blues Began is a brilliant account of every trip and recording and interview Lomax did for anthropological studies and the Library of Congress, all told by the man himself. He's an excellent writer, too, so you really get lost in the world--and if you are obsessed with vintage recordings, unknown artists being discovered through some pretty intense means, and the art of the interview, this is all for you because Lomax even details how he got many of the wary black blues musicians to open up to him and talk candidly on tape before the civil rights movement erupted. He even tells some amazing stories of his youth, like sneaking into the back of what were deemed "illicit" clubs in the South to hear "Negro music" with his girlfriend and the ramifications of getting caught.

Lomax was a man who truly looked ahead and saw genius where others did not. Of Lomax, Brian Eno once said: "Without Lomax, It's possible that there would have been no blues explosion, no R&B movement, no Beatles, and no Stones, and well, no Velvet Underground."

Some other important and interesting facts about Lomax besides his work with the LOC? He was an ethnomusicologist who created one of the leading multimedia interactive databases called The Global Jukebox, which he produced as an anthropologist for Columbia University and Hunter College. He was also a writer, a radio host, a record producer, and created the PBS prize-winning series "American Patchwork".

If you're a fan of Thin Lizzy doing traditional Irish tune "Whiskey in a Jar", then you should check out Lomax's research on the famous song because he traces it back to the 17th Century with pretty remarkable detail.

File Under: Any music lover who also adores anthropology MUST read this book!
[Watch Belton Sutherland do "I Want you to Love Me or Leave Me" in the Mississippi Delta thanks to Alan Lomax.]
[Watch Alan Lomax discuss the death of Amadee Ardoin, a famous Cajun fiddle player who only spoke French and was considered to be the first African-American to record music. Lomax interviews people and uses archival footage on his show for PBS, American Patchwork. A great interviewer.]

R.I.P. Maharaja

One of the world's greatest jazz pianists, Oscar Peterson, has died.

The Canadian impresario was 82. If you know little of Peterson, Duke Ellington once dubbed him the "Maharaja of the keyboard" because he was known for his precision, speed, and agility on the keys. He's played at Carnegie Hall, and shared the stage with every jazz great--from Charlie Parker, to Billie Holliday, and Dizzee Gillespie.

Oscar Peterson was even a blogger.

You can read about his life in the Wall Street Journal obituary, or check out the one done by the New York Times.

So, enjoy some Oscar today, from himself to Pulp and Circumstance, to you:
[Oscar Peterson and his trio play at the famed Newport Jazz Festival--quite vintage.]
[Listen to Oscar Peterson and Herbie Hancock work a piano duel to "Billie's Bounce" and try and figure out who is who. Funs!]

Hanging with the boyz of Marc Jacobs? Durrrr.

M.I.A. in a Marc Jacobs advertisement? Is nothing sacred any more?

It seems sort of out of line with the whole M.I.A. aesthetic for her to be posing in designer spreads for glossy magazines. What does everyone else think?

I suppose enjoy M.I.A. working the high fashion androgyny and listen to appropriate music for it.
[M.I.A. - Boyz. Off 2007 record Kala.]

The Day of Reckoning: In Rainbows on Current T.V.

Something yet again new and innovative from Radiohead. Pulp and Circumstance is feeling kind of....redundant.

Everyone knows all about Radiohead's release of new lp In Rainbows digitals only through their website and price choice. Now, the band intends to perform the ENTIRE album live on Current T.V. for two dates.

The relevant deets? Radiohead will roll out the entire albPublish Postum on December 31 at Midnight and 1 a.m. EST and again January 1 at 8 a.m. and 6 p.m. EST (randoms!). However, if you don't get Current T.V. you can stream the performance at their website on ONE DATE ONE TIME ONLY! Check it out online on December 31 at 12 a.m.! Don't forget.

You can read the Pulp and Circumstance review of lp In Rainbows by Steve Ryan here.

Enjoy in prep!
[Radiohead - Reckoner.]

It's called the Track of the Day: Foundations.

And the track of the day is...

Kate Nash - Foundations (off 2007's Foundations EP)

Pulp and Circumstance kind of adores Kate Nash and if we could bottle her up and pass her out to be opened and enjoyed musically, well, then, that would be amazing. This 20-year-old folk pop driven British singer has a pretty intense lyrical quality oft fueled by dry humor, hence why Pulp and Circumstance drools repeatedly.

This wasn't an immediate love, actually. P&C avoided checking out Nash for quite some time, but upon discovery was disappointed to have ignored these little creations for some time.

Nash's first record was a debut double-A side single released on 7-inch by the amazing Icelandic indie label Moshi Moshi, and it dropped in February 2007 featuring "Caroline's a Victim" and "Birds", a sweet little acoustic ditty. Limited to 1,000, demand for Nash records was high and she immediately signed with Fiction Records, an off-shoot of Polydor. By April 2007, she dropped her first single on Fiction with our track of the day, "Foundations". The success of "Foundations" was as rapid as her Moshi Moshi release and Fiction pushed the release of her lp Made of Bricks up six weeks this summer.

The rest is history despite the oft comparisons to Lilly Allen, which I don't quite agree with because Nash doesn't just sing straight unimaginative pop songs. Still, Nash (along with Allen) has received some criticism in the UK for singing in a "cockney" accent despite being brought up pretty well off. Oh well. That means little stateside, right? What does everyone else think?

Enjoy the track of the day!
[Kate Nash - Foundations.]

Classically Brilliant.

Sorry fo ra lack of blogging through the holiday days, kitties. My amazing Mum gifted me a brilliant new 160-gig (!!) i-Pod with video capabilities. I probably won't have room for videos after I raid my music collection, but the cataloging capabilities of wee little mp3 device are pretty remarkable and I spent the greater half of last night separating genres into Electro-Clash Rock (Har Mar Superstar) to Synthpop Dark Wave (Depeche Mode) to Avant-Garde Rock (The Velevet Underground) to Ambient Experimental Baroque Trip Hop Pop (Bjork)....well, you get the picture. It's pretty remarkable.

Pulp and Circumstance is in love. The cover art even bounces around in high resolution when you're browsing through music or listening. Hurrah! Plus, if a producer had some pretty remarkable role in songwriting and composition during the recording process, the i-Pod is capable of recording that for quick reference. Brilliant!

If you ever get a chance to get the new i-Pod classic, Pulp and Circumstance says its for the truest of music fans who want a portable library. I calculated I can fit approximately 24,000 tunes. Hopefully I don't tap that out too quickly....

Cheers!
[Hello Saferide - Ipod Xmas.]

A Year in Music: Overexposed?

As we've already mentioned, every day Pulp and Circumstance will roll out a new list as part of A Year in Music: The Best of 2007....

However, we thought we could expand it to include not just The Best, but of course, The Worst, and perhaps, good tunes that were totally overexposed, overplayed, and thus, perhaps, ruined for years to come. Everyone has these tunes right? The ones you absolutely love, play them out like crazy for weeks, months, on end, then totally burn out... it's as if it's an addiction and you finally come to, declare you'll give it up for good, do well for awhile, but a few years down the line, you'll relapse and the trip will be fresh, new, and exciting... for awhile. That's not to discount these songs as pure gems; that is in fact, what they are, which is why, they may be overexposed now, and forever maybe.

How do the readers feel about this?

Well, there's no time to contemplate it kittens because away away we go with the next installment in our year end lists; the countdown to the New Year is on, people, and we'll bring you the music up to the ball drop.

So.... what's this list you ask?? Drum Roll please...

"The Top Ten Most Overplayed Songs of 2007!" Hurrah!

Everyone can list a whole slew of songs they loved that were just simply ruined by overexposure. Everyone's been there and if you haven't, well then you're a liar. There are just those tunes, every single year. "Umbrella" is on the list, unfortunately, despite the fact I adore this tune... because quite frankly, no one could escape it and it's still the most COVERED song of 2007; despite not being overly, disgustingly sick of it at this point, it was EVERYWHERE and it was one of the main tunes you'll be like "oh yeah, summer 2007!" in about two years to remember drunken mishaps in the bars or swimming at the beach. It's just that tune.

Alas, we bring you the Top Ten Tracks We Are Quite Sick Of, whether that be thanks to non-stop radio play, non-stop club play, non-stop remixing magic, or perhaps non-stop discussion of said track. And in no particular, discrimminatory order....

Enjoy and remember, it may be difficult to clicky on any of the following because, well, of overplay already! If you d on't agree, let the mud-slinging begin! (Side Note: Some of the tracks technically came out in 2006 but weren't on repeat until 2007.)

1. D.A.N.C.E. - Justice ("t", Ed Banger)
2. Music is My Hot Hot Sex - Cansei De Ser Sexy (C.S.S., Sub Pop)
3. Umbrella - Rihanna feat. Jay-Z (Girl Gone Wild, Def Jam)
4. Stronger - Kanye West feat. sampling of Daft Punk's "Harder, Better, Faster, Stronger" (Graduation, Roc-A-Fella/Island Def Jam)

5. Golden Skans - Klaxons (Myths of the Near Future, Polydor/Geffen)

6. 1,2,3,4 - Feist (The Reminder, CherryTree/Interscope)
7. Rehab - Amy Winehouse (Back to Black, Island)
8. Fluorescent Grey - Deerhunter (Fluorescent Grey EP, Kranky)
9. Young Folks - Peter, Bjorn, and John (Writer's Block, Wichita Recordings)
10.Fluorescent Adolescent - Arctic Monkeys (Favourite Worst Nightmare, Domino Recording Company)

It's called the Track of the Day: Nutcracker Suite Remixed!

And the track of the day is...

Flip Baber, aka Johnny Random - Nutcracker Suite (Remixed using only bicycle parts as instruments!)

My mum took me to see The Boston Ballet's performance of "The Nutcracker" today at the Boston Opera House, so in honor of all that, we bring you today's track of the day. The Boston Ballet Orchestra was probably the best part of the whole experience; the percussion section was incredible and unfortunately despite repeated attempts to crane my neck to see under the stage, I could not for the life of me figure out what sorts of percussion instruments were making some of those brilliant sounds.

Our track of the day comes from a Bay area composer, Flip Baber, aka Johnny Random, who managed to mash up the brilliant and famed "Nutcracker Suite" by Tchaikovsky. What's cool? Baber was commissioned to create the mash-up to sell bicycles on a Christmas commercial...so what did Baber do?? He completely mashed the track using bicycle parts to make odd noises. Incredible! I found this little gem at Create Digital Music, which you can see here.

I was distracted often by a little girl who kept raising her doll up in the air and a little boy who appeared to be overly affectionate with his sister. And the man in front of me has never heard of Degree ultra invisible solid.

But, in honor of the Boston Ballet Orchestra and brilliance on the piccolos, too, we bring you the track of the day.

You can check out more of Flip Baber, aka Johnny Random, and the other music he's created, here.

Enjoy the holidays everyone!
[Flip Baber mashes up "Nutcracker Suite" using only bicycle parts. Pretty remarkable!]
[Watch a video to see how all that new sound is created with said parts!]

Update on Artist To Watch:: Sweet Track unveils Me vs You vs Taste

As mentioned before as "P&C Artist To Watch", Pulp and Circumstance friend and cardy wearing Harvard Physics library nerd-o (just kidding) Mike Swidrak has a little lo-fi bedroom project dubbed Sweet Track, and he's been making some sweet sweet music lately.

And Mr. Swidrak-Sweet Track has just informed us a new track has been posted to his myspace page called "Me vs You vs Taste", so definitely go check it out. The instrumentals are pretty amazing and if that's a flute several minutes in, then, well, Pulp and Circumstance is clapping all around.

P&C's favorite Sweet Track tune yet is "Frustrated Forecaster", and if you haven't yet heard it, nod over to his space and listen. It's got some amazing undertones and the beat is definitely completely acceptable for a night out despite its morning train ride vibe. Does that make sense?

Hopefully over his little holiday break he'll create enough material for a one-off gig and when we meet up with Mr. Swidrak for some pumpkin kibby in the New Year, we can try to convince the Middle East to give him a Sweet Track debut upstairs. What does everyone think?

Do the D.A.N.C.E. though it didn't make this list!

As Pulp and Circumstance previously mentioned, until New Year's we'll unveil our lists of "Best of 2007" in music... our first installment was "Five Songs We Never Thought We'd Adore" and P&C was surprised that we could have filled out the list to more like a Top 10.

Alas, we kept it curt for the readers and we'll do the same with this list-- The Best Dance, Electronic Songs of 2007. This year, it was all about the indie kids kicking up their heels and shuffling across the dance floor to the best in electro, and boy was 2007 quite the year for electro. It saw the smash hits from French duo Justice and their lp "t", Cansei de Ser Sexy's brilliantly bizarre Brazilian take on the movement with C.S.S. even though the album technically came out in 2006 it was massive in 2007, and of course the astounding record Attack, Decay, Sustain, Release by Pulp and Circumstance's most favorite dance-electronic duo Simian Mobile Disco, which turned everything they touched to gold this year.

And there was some amazing remixes from The Teenagers, and some hybrids in dance with Modeselektor's lp Happy Birthday, which moved that dance electronic space into a techno, dance, hip hop place... a hybrid Modeselektor has absolutely always owned but trounced the electronic world with this fall. So it deserves mention in this here list.

Even indie bands who may dabble in technology a bit saw full-on dance crazed fun attempts this year, what with the one-off single featuring dance techno electro madness from Bloc Party with tune "Flux". It includes absurdist electronic artists like Dan Deacon, who absolutely got the indie kids moving, shaking, and dancing with weird blips, bleeps, screaming vocals, and distortions.

So, enjoy the " Top Ten Best in Dance, Electronic and Hybrid Electro Hype Madness for 2007", brought to you by Pulp and Circumstance. Dance your way through it!

1. Hustler - Simian Mobile Disco (Attack, Sustain, Decay, Release, Wicheta Recordings)
2. 2000007 - Modeselektor feat. TTC (Happy Birthday, Bpitch Control)
3. The Crystal Cat - Dan Deacon (Spiderman of the Rings, Carpark Records)
4. Music Is My Hot Hot Sex - Cansei de Ser Sexy (C.S.S., Sub Pop)
5. D.V.N.O. - Justice ("t", Ed Banger Records)
6. It's The Beat (The Teenagers Remix) - Simian Mobile Disco
7. Crimewave, Crystal Castles (7-incher vs. Health, Trouble Records)
8. That Sound Wiped, Von Sudenfed (Tromatic Reflexxions, Domino Records)
9. The Party (LA Riots Remix) - Justice feat. Uffie
10. Us vs. Them - LCD Soundsystem (Sound of Silver, The DFA)

It's called the Track of the Day: To Sir With Love.

And the track of the day is...

Lulu - To Sir, With Love (for the 1967 film To Sir, With Love)

Lulu, the brilliant Scottish singer with a husky smokers voice at the tender age of 15, was born Marie McDonald McLaughlin Laurie in Glasgow. She scored a #7 hit in the UK with 1964's rendition of The Isley Brothers' "Shout" and she and her backing band The Luvvers were on their way.

Two years later, the group had ceased playing their pumped up, rowdy r&b music in Glasgow's clubs and left Lulu to a stab at a solo career. She eventually scored a part in the 1967 film To Sir With Love, in which she sang our track of the day. The tune was such a hit, she sold 1 million copies and notched a Number One on the US charts.

Lulu has faced her own set of flops but has worked with David Bowie, Atomic Kitten, pumped out a disco dance record in 1993, and hatched herself a decent stage career.

So enjoy our track of the day because it's the finest Lulu around!
[Lulu- To Sir With Love.]

How did we love these? A Year in Music.

So...Pulp and Circumstance is finally going to begin to unroll a collection of A Year in Music: The Best of 2007.

Every day we'll bring the readers something new in our Best ofs on the year and we'll begin at the "Five Songs we never thought we'd love" right now.

2007 brought many developments in my music listening experiences. I've grown and expanded my genre loves substantially thanks to some pretty amazing musical innovation in 2007 that's caused me to gobble up just too much at every turn.

While Pulp and Circumstance has always prided itself most in having a wide-ranging eclectic taste that can take you from primitive blues, to improvisational jazz (though nothing too experimental), to techno, to indie dance electronic, to minimalistic break beating, to folk and straight guitar rock, we kind of love it all.

But, while we do love it all in terms of genre jumping, there were some stand out surprises in 2007? What does that mean? Well, quite frankly, Pulp and Circumstance is still shocked that certain artists or particular songs just quite knocked our socks off. For instance, we fell in love with Bright Eyes tune "If the Brakeman Turns My Way" off 2007 record Cassadaga despite never quite liking Conor Oberst and friends on any of his older releases. This kind of strange love affair with artists previously uninterested in has kind of majorly intrigued us in 2007, hence the following....

5 Songs We Never Thought We Would Have Loved in 2007 by Pulp and Circumstance. Enjoy!

1. If the Brakeman Turns My Way - Bright Eyes (Cassadaga, Saddle Creek Records)]
2. To Build a Home - The Cinematic Orchestra (Ma Fleur, Domino Recording Company)
3. Etheric Device - Glass Candy (B/E/A/T/B/O/X, Italians Do It Better)
4. On Call - Kings of Leon (Because of the Times, RCA Recordings)
5. Your Love Alone Is Not Enough, Manic Street Preachers (Send Away the Tigers, Sony BMG)

Reality Check: It's a wheel of musical fortune in 2008.

Yay! The brilliant electro-pop London and Paris based trio that is The Teenagers have finally dropped the sneak preview of their debut LP artwork, and rolled out the track listing.

Exciting! The news comes hot on the heels of The Teenagers' first tour stateside, which has them take a jaunt towards Boston with three dates (neither of which are in Boston, which we expressed sadness, anger, and every other stage of grief over here). Still, Pulp and Circumstance plans to see them either January 29 at Just for Laughs in Montreal, January 30 at The Mercury Lounge in New York City or January 31 at the Hiro Ballroom. Why again aren't they coming to Boston????? What we don't count????

The record, which will be named Reality Check (artwork above), will drop in Europe on March 17, 2008. Wow, 2008 is really shaping up to be amazing! We can hardly contain our excitement. No information yet on when it will hit stateside record shops, but XL Recordings will distribute it stateside and Merok elsewhere.

The tracklisting is as follows: 1. Homecoming 2. Love No 3. Feeling Better 4. Starlett Johansson 5. Streets of Paris 6. Make it Happen 7. Wheel of Fortune 8. Fuck Nicole 9. French Kiss 10. Sunset Beach 11. III 12. End of the Road.

You've heard first track "Homecoming" loads here at Pulp and Circumstance already, and "Starlett Johnansson" and "Fuck Nicole" have been floating through the clubs and internets for some time, and is available at their myspace page.

Expect big things from The Teenagers in 2008--not that they weren't doing big things in 2007, what with one of the best remixes on the year in a reworking of Simian Mobile Disco's "It's the Beat", as well as providing me with one of the most excellent tunes to run to in "Homecoming".

Their third single, "Love No", will drop a week before the LP, on March 10, 2008.

For now, pump yourself up in anticipation of the full-length. Enjoy!
[The Teenagers - Homecoming.] [Simian Mobile Disco - It's the Beat (The Teenagers Remix).]

Finding these on vinyl these days is like searching for a needle in the hay. Not anymore come 2008!

Some good news for all you Elliot Smith fans, which includes here Pulp and Circumstance.

Two brilliant out of print since 2003 Smith records, XO and Figure 8, will receive vinyl re-issue treatment in February, so you know what that means-- 2008 is already pitching up to be a pretty excellent year in music if Pulp and Circumstance says so. Which it does.

Both records will be available in beautious 180-gram vinyl. Hurrah!

Some relevant deets about each of the aforementioned albums? Yes, please.

XO, the fourth lp from the American singer songwriter, was released in 1998 by Dreamworks, his first record for a major label and just after a pretty crazy incident that involved Smith, a whole bunch of booze, a jump off a cliff, and impalement on a tree. XO was some of Smith's finest in a distinctly baroque pop accord and featured some pretty lush instrumentation as compared to his breakout record Either/Or (who doesn't love a little Kierkegaard reference?). If you were lucky enough to get your hands on the Japanese version of the record, it features a special addition of Smith tune "Miss Misery", which he wrote for friend Gus Van Sant's little film Good Will Hunting. (Side note: Why do the Japanese always get these AMAZING releases with bonus materials? Anyone? Anyone?) XO went on to sell more than 400,000 copies, making it Smith's most successful selling album of his short career.

Figure 8, recorded at famed Abbey Road Studios in England, dropped just two years later, in 2000. It featured the same production as on the aforementioned record XO and was finished up just as Smith was embarking on a final, disastrous addiction to heroin. It featured much more lush instrumentation and generally met with acclaim for its innovation. However, it would be the last true release of Smith's life--having died during the creation of From a Basement on the Hill, his last creation which was finally released two days shy to a year anniversary of his untimely death.

While recording From a Basement... many of his musical friends noted Smith was smoking thousands of dollars in heroin and crack per day and was on a shame spiral to death. Unfortunately, Smith was found dead of two stab wounds to the chest on October 21, 2003. He was 34. Police could never determine whether the wounds were self-inflicted but Smith often talked of suicide and boasted he tried to overdose plenty of times.

With that, pick up your re-release vinyl come February 2008. If you haven't checked out Elliot Smith, despite his drug troubles, he was truly one of America's best singer-songwriters of the last decade. A troubled musician whose music reflected much of his life's angst, Smith will take any listener on quite an emotional journey, and a journey worth taking.

So take a listen today. Enjoy.
[Elliot Smith - Needle in the Hay.][Elliot Smith - Miss Misery.]

It's all in the Fruitcake! And it's finally here.

O.k.! It's finally here! The winning entry for our Holiday contest of The Best Songs of 2007 and of course you guys already know it was Pulp and Circumstance reader Pete, who resides in Somerville.

We brought you the track listening a week or so back, no we're bringing you to MP3 podcast of the mix; and for all of you that emailed me asserting you want the Pulp and Circumstance holiday bundles, then you'll get a hard copy version as well. Can't wait for that? Download the Best in 2007 Mix by Pete at this space. It clocks in at just over 1 hour 11 minutes! Hurrahs!

Here's Pete's picks:
Music is so personal. It really is. I like how Pulp and Circumstance always mentions that. But I think while music is so personal, it is one of the few things left that really unites people. And that’s the inspiration for a year in music 2007, which saw me sort of become insanely obsessed with dance music. The indie kids are finally dancing and I’m shuffling right along with them.

1. Simian Mobile Disco – I Believe. (best in electronic dance; when I saw them at Avalon in September, I seriously lots my socks. The energy from Jas Shaw and James Ford’s equipment was like nothing I’ve yet to experience at an electronic gig. I thought those bug zap lights would zap the crowd the levels were so high. Pure insanity. The place was dancing like a completely hyped up on Ritalin bitch.)
2. Battles – Atlas. (please personally email me if you get any lists with this tune left off. That’s my descriptor.)
3. Architecture in Helsinki – Red Turned White. (Saw them at the Paradise and was immediately taken despite only hearing “Heart it Races” thanks to the Pulp and Circumstance blog. The layering and harmonizing with that slight pop underhook is what attracted me most to this tune. It sounds a bit like Modest Mouse, only better because Modest Mouse may have been good once ago, but not anymore. It’s modern but edgy but electronic but light and sentimental.)
4. Amy Winehouse – He Can Only Hold Her. (Everyone picks “Rehab” and I would too except for this is the little quiet jewel in a sea of other diamonds. Amy’s singing to me, did you hear? And I love that sassy “psssff” she gives in its first 30 seconds. So this is the song of the year off that record.)
5. M.I.A. – Boyz. (She continues to push the music world into new and innovative places. And she always wears the chillest sneakers.)
6. The Cribs – You’re Gonna Lose Us. (This song reminds me of everyone at some point or another. And it’s actually kind of discussing a shit topic by talking about being a drunk asshole but it’s got a happy melody. Weird. Cribs are straight good indie guitar rock. And mix all that alcohol they consume, you never know what you’ll get. I’m still bitter they canceled their tour through Boston a couple weeks back now. But not bitter enough to say this song doesn’t deserve a bit on the list.)
7. Animal Collective - #1 (It makes me want to watch the Twilight Zone or something. It’s so bizarre I can’t quite say why it makes this list other than I’ve heard absolutely nothing like it before. Plus, you can’t leave Animal Collective off the list since it’s the only band this year that a mother has called the police and claimed was a cult act. Amazing stuff! And you can’t pick Peacebone unless is the Pantha du Prince remix but even that’s too obvious. So #1 it is. Though not in the number one slot like SMD).
8. Cansei de Ser Sexy – Let’s Make Love and Listen to Death from Above. (I know that this record technically came out last year, HOWEVER I’m going to justify it on this list. I didn’t discover it until I was riding in my brother’s car this summer and it was on a mix he had. It nearly blew me away. I immediately wanted to dance to it despite the creepy, haunty undertones. It wasn’t like much anything else I’ve heard in a long while.)
9. Arctic Monkeys – If You Found This It’s Probably Too Late. (Arctics This song just comes at you with no pretension and no apologies. It’s a bit different than their other stuff because it’s so heavy. And that’s why these kids shit gold. And I’m willing to pick it up. One minute it’s getting into the best groove space with surf guitars, hip hop beats, and Dizzee Rascal, the next minute their just deep in the bass and heavy heavy heavy before lightening it up and all of a sudden Alex Turner is sentimental as hell and shows us his softer side. Their newest record is a surprise after the next, but their b-sides show their depth. Saw them in Avalon and prepared to be under whelmed since I’d read their live performance is strict, no bullshit. I was beyond overwhelmed. These kids are doing something too right. If you’re not a fan, go see them live.)
10. Handsome Furs – Dead and Rural. (The little side project to Wolf Parade brings you to a dance electronic place. I dance all over that dance electronic place. Actually heard this song for the first time on myspace when I was being nosy about an ex girlfriend and this was her song. At least I can thank her for something, right?)
11. Fight Like Apes – You are the Hat. (I absolutely thank Pulp and Circumstance and your friends for introducing me to this brilliant Irish act for which I would otherwise know zilch. The short EP is amazing straight through, but this song’s layering, static guitars, and blips and bleeps puts me in meditation space without being safe. I love it.)
12. Justice – New Jack. (This year is all about the dance electronic. It rules the indie world and beyond. I was a live set from this d.j. in New York back in the summer and he remixed this like the bees. If I had the remix, that’d be the one. But this guy was just a regular old jack remixing New Jack. But Justice created the song in the first of it, so here it is in all its jackin’ glory.)
13. Bonde do Role – Office Boy. (Brazil opens it up and take the world by storm. This baille funk introducing me to a whole sick genre and we have Domino to thank for its distribution. Unlike anything else out right now. And it makes me feel not so bad about being a drone in a cubicle.)
14. Glass Candy – Etheric Device. (The rest of B/E/A/T/B/O/X is basically crap but this song just grabs me and moves me.)
15. Dan Deacon – The Crystal Cat. (So bizarre. So cool. Innovation!)
16. Les Savy Fav – Pots and Pans. (Six years never did any band so much good. A stylistic change and a change worth noting. This record wows me, and particular opening track Pots and Pans. I’m pleased to see the embrace of more lush production. It suits them.)
17. The National – Start a War. (A pretty much overrated band generally speaking but this song will get me every time. It’s so bleak but at the same time, so moving.)
18. Beirut – A Sunday Smile. (This whole record is so weird but it’s Beirut. I’m supposed to like it. Is that a bad answer?).
19. LCD Soundsystem – Someone Great. (The effects on this song are so addicting.)
20. Rihanna - Umbrella. (Song of the summer. Everyone loved it. If you say you didn't you're a damn liar. And it doesn't hurt that Rihanna is one of the sexiest women in music right now.)

Enjoy the brilliance that came from Pete and here's to a year of amazing music in 2008!
[Pulp and Circumstance Presents... It's all in the Fruitcake: The Best in Music 2007.]

It's called the Track of the Day: Maps.

And the track of the day is...

Yeah Yeah Yeahs - Maps (off 2004's live acoustic, AOL Sessions EP)

If you know little of Yeah Yeah Yeahs and Karen O, you're surely living one of the most banal existences. Karen O may be one of my most favorite female vocalists in music, ever, never mind today.

Our track of the day comes off their brilliant acoustic sets for AOL Sessions; Karen O is so ethereal, emotive, and brings a stripped down sentiment to an already massively sentimental tune in "Maps", which is still arguably their most important single to date.

Yeah Yeah Yeahs is a New York City conceived band, which formed in 2000 and is made up of vocalist Karen O, guitarist Nick Zinner, and drummer Brian Chase, who oft wears amazing gigantic headphones when performing live. The band has released two full-length records; our track of the day comes off debut record, 2003's Fever To Tell (prior to that the band released a self-titled EP in 2000 and another ep Machine in 2002, to quiet acclaim). Fever To Tell sold a whopping 750,000 copies, Karen O was quoted as saying they rattled through production and creation of the record because she "just wanted to get Maps out there" (and rightfully so!), and they recorded an amazing session with legendary DJ John Peel.

Their second record, Show Your Bones, was released in March 2006 and me and former co-worker Steven Ryan (known oft in this forum as Esteban Miguel) were addicted to it immediately. Steve even gifted me a special edition 7-incher of Gold Lion he received that I did not (what the heck?) since he doesn't own a record player despite much existence he has in the dark ages of music (mix tapes still!). Our night editor Jules adores Yeah Yeah Yeahs and after Show Your Bones dropped we talked non-stop Karen O and company, and I burned him the collective rarities, b-sides, and live sessions. Show Your Bones is a pretty immaculate album start to finish and Yeah Yeah Yeahs puts on an even more immaculate live show, which often includes crazy outfits from the beautiful Karen O, though she's toned down the spitting beer on the crowd and breaking bottles (though that was an amazing part of the appeal!)

When I saw Yeah Yeah Yeahs at the Download Festival this summer, Karen O started off "Maps" electronic and album version ready, before stopping her bandmates, dedicating the song to the fans, guitarist Nick Zinner's parents (who were in house), before Zinner picked up an acoustic and away the two of them were, literally with Karen O singing to Zinner and Zinner playing right back to Karen as if thousands of people weren't staring at them. They were quite in their own little space and frame of mind, which made Karen that much more moving and sentimental. You can read our review of their set at Download Festival from August here.

In short, I adore this band. And I adore Karen O. If you haven't waded the Yeah Yeah Yeahs waters, what the heck are you waiting for?

Enjoy!
[Yeah Yeah Yeahs - Maps (live acoustic).]
Bonus?! The best!
[Watch Yeah Yeah Yeahs do "Maps" live at The Fillmore in San Francisco in 2004. Breath-taking.]

Remix me.

Nialler9 is one fire today. Pulp and Circumstance meant to tell the readers about the newly available for download remixes from Thom Yorke's solo go round with the Eraser record.

But of course, Nialler9 beat us to it. So, without further babble, head over to his space for all the relevant deets on where to find them online and when they'll drop in hard copy. If you like Thom Yorke cut and reworked by the brilliance of the likes of Modeselektor, Surgeon, The Field, and Four Tet, among others.

Claps again Niall! You're taking up all Pulp and Circumstance's white space today. Lovely!

Irish EP explosion of monumental quality! Cheers all around.

A pretty intense list of Top-20 Irish EPs, voted by the readers, over at Nialler9's space. Obviously.

If you're way into Irish music, or music in general, then you should definitely check it out because he's podcasted the whole thing up in some mega Irish EPs explosion 2007. It's pretty intense, and like always, Nialler9 knows his shit, so go check it out for looksies.

Enjoy! Thanks for that Niall. I now feel as if I was immersed in the Irish music scene for all of 2007 and I don't even live there. Claps.

It's called the Track of the Day: Pots and Pans.

And the track of the day is...

Les Savy Fav - Pots and Pans (off 2007 record Let's Stay Friends)

This New York based band took a pretty descent hiatus and rumblings around made it seem as if the band were through. Alas, the band spent most of last year recording a pretty brilliant little record, their fourth, called Let's Stay Friends, which includes our track of the day.

The band met while students at Rhode Island School for Design (know as Rizzzzz-D around these parts) about a decade ago and make pretty sweet, intelligent indie rock. Lead singer Tim Harrington is quite the poet and tackles pretty heady subjects all while shouting the lyrics over some descent instrumentals.

If you've never seen this band live, you must. The onstage antics from Harrington might not ever be matched for a geeky indie band as the likes of Les Savy Fav. So check it.

This track was picked by the winner of our little Holiday contest as one of the Top 20 tracks of 2007 and we can't agree more.

So in honor of Pete in Sommerville, who is track after track bringing out one of the best "compilations in music" for the year 2007, we bring you the P&C track of the day.

Enjoy!
[Les Savy Fav - Pots and Pans.]

Partygoers were in a purple haze over this one...

Our brilliant favorite Jarvis Cocker played a surprise gig last night at Rough Trade's Christmas Party in London.

Our heart. It bleeds.

And to make it worse that Pulp and Circumstance wasn't at this wee little gig, the set list was, while curt, IMMENSE.

The deets? Cocker played a slew of covers that included the following:
1. Survivor, Eye of the Tiger. 2. Thin Lizzy, The Boys are Back in Town. 3. The Jesus and Mary Chain, Sidewalking. 4. Jimi Hendrix, Purple Haze...and Winter Wonderland!

Jarvis Cocker may very well be God. You can read all about it in the NME.

Pulp and Circumstance will try and get our hands on bootlegs from the gig and bring them to the readers.

For now, watch him do "The Boys are Back in Town" at Electric Picnic 2007 even though quality is shit. "Eye of the Tiger", too. Thank you summer festivals and videographers!
[Jarvis. Thin Lizzy. Perfection.]
[Jarvis. Eye of the Tiger. This summer.]

And he liked 100 dollar bills like all of us...

Last night I took advantage of my Mum's subscription to Sirius Radio and checked out a special on the Blues Channel with Marshall Chess, one time VP of Chess Records on South Michigan Ave. in Chicago, one of the most formidable labels for blues artists in the 1960s.

Marshall Chess shares intimate stories about his father Leonard and uncle Phil's days as founders of Chess Records and their artist--everyone from Chuck Berry, Howlin' Wolf, Memphis Slim and His Rockers, to Big Gene Ross and Willie Dixon.

Chess Records, which began in 1947 when Leonard bought his stake into Aristocrat Records. Three years later, he brought in his brother Phil and turned the label in Chess, which boasted some of the most influential artists in rock n' roll. The two brothers did most producing themselves at first before handing over the reigns to an impressive resume of musicians including Willie Dixon, Ralph Bass, and Roquel "Billy" Davis.

Marshall Chess not only recalled some pretty hilarious memories, including Howlin' Wolf and 100 dollar bills, but he played some of his favorites and P&C got to hear Bobby Lewis do "Mumbles Blues" and a whole bunch of Muddy Waters.

So for any of the readers of Pulp and Circumstance interested in the blues and similarly Chess Records, I rooted around the Sirius site and found you can listen to a few snippets for free. So go here and check it out.

In the meantime, Enjoy!
[Howlin' Wolf - Evil.]

Catharsis on Subversion? Or subversion as catharsis? Installment Two.

As you may have already read, a long while back Pulp and Circumstance did a post on Subversive Song, which featured some of the most controversially subversive songs by women ever. We detailed why P&C adores subversive song, why it can be seen as an emotional catharsis for many of the artists who produced said songs, and even compiled what we considered to be some of the best in subversion.

Alas, Pulp and Circumstance got the itch last night, and is back with a brand new collection of songs in subversion. If you missed our last post, see it here. And you should see it because we brought you the classics from Bessie Smith, Lady Day, Nina Simone, The Crystals, and even the newbies like Amy Winehouse and Magnetic Fields.

This time around, we wanted to not only bring you a few more ladies who can really subvert it, P&C was curious about subversion and men and found--through JSTOR and other scholarly publications we're currently addicted to--that most of men's subversive song comes in the form of protest from the likes of Woodie Gutherie, Bob Dylan...well, you get the picture. Boring!

Instead, we're bringing you the best in sexual liberation subversion, destruction and in some cases, doing anything for a man. Lovely!

Women prevail again. Enjoy!
[Marcie Blane - Bobby's Girl. There's nothing better than being Bobby's girl.]
[Dusty Springfield - I Close My Eyes and Count To Ten. 1968.]
[Bette Davis - Nasty Girl. 1975. Miles Davis' wife not only contributed to his innovation in the jazz world, but she put fear in the eyes of everyone during her days recording some of the most aggressive funk albums in the 1970s. So anyone after her like Madonna or Blondie can really thank Bette Davis. You know, she's precocious. She's got Bette Davis Eyes!]
[Kate Bush - Suspended in Gaffa.]
[Kate Bush - Sat in your Lap. The whole Dreaming album is an interesting metaphor. I think?]
[Blondie - The Hardest Part. Yeah its about an "Armed Car" robbery. 25 tons of hardened steel, behind the steering wheel? You decide.]
[Tracy Ullman - You Broke My Heart in 17 Places.]
[Tracy Ullman - Breakaway.]
[Apollonia 6 - Sex Shooter.]
[Apollonia 6 - Since I Fell For You.]

What's black and white, tick, tick, booms and is Simian all over? Remixes!

Just when you thought The Hives slow retreat back into the honeycomb was almost complete, this news gets thrown your way:

Yeah Yeah Yeahs guitarist extraordinaire Nick Zinner and that power-drummin' Simian we adore, Matt Helders, are set to work new remixes on The Hives latest record, prompting Pulp and Circumstance to actually be interested in said Hives record, The Return (The Black and White album). Apparently the record dropped back in August, but P&C had no idea well because this Swedish garage rock revivalist band has been so dormant we became entirely uninterested. And we never loved 'em anyways.

And the attention may work it for The Hives. Yes? We're talking about it now...

The deets? The next single from The Hives latest release "We Rule The World" drops February 25 and.....Nick Zinner will apparently slice and dice first single "Tick Tick Boom" while Helders will stick his sticky fingers all on "We Rule the World". Both will be available on the single and thusly, I'm sure, the internets.

We know anything that comes of these little remixers are sure to be Pulp and Certifiable Goodness.

Brilliant. Are these Helder's first dabblings in mixies? I think they are. Anyone, anyone?

Fly the Paper Plane over to Una's Space.

Pulp and Circumstance failed to mention the controversy surrounding The Internets, M.I.A., new video for track "Paper Planes", and censorship in this forum.

Lucky for you, Unarocks has all the deets on an open letter clearing the whole shiz up for you, so clicky this. She's got the video in the post, too, so it's one stop shopping with Miss Mullally.

Don't know much about M.I.A.? Mathangi "Maya" Arulpragasam, better known as British artist M.I.A., was a pretty successful visual artist when she released tunes "Sunshowers" and "Galang" to file sharing on the internets in 2005, which eventually catapulted her into worldwide fame. She released debut record Arular in 2005, which received a nom. nod for the coveted Mercury Prize. Her follow-up record Kala, which is once again critically acclaimed and largely self-produced, was released this summer. What to expect from M.I.A.? A mix of grime, electro, dancehall, and a strict political message--mostly developed through her experiences during the Sri Lankan civil war, which her father had a pretty significant hand in as a Tamil independence fighter.

Kala gets a nod on Pulp and Circumstance's list of best albums of 2007 and most influential albums in as many years for its innovation. When P&C first heard Arular back in college, it hit us like a ton of bricks. It was this strange new sound and completely mesmerizing. Lucky for her listeners, M.I.A. continues to bring us to "hit me like a ton of bricks" places with her tunes.

So nod over to Una's space if you want to read about the controversy regarding the "Perfect Planes" music video.

But you can enjoy the song straight up here, with little to no Grovestand Pulp--that's what Una's post is for! Enjoy!
[M.I.A. - Paper Planes.][M.I.A. - Paper Planes (Remix feat. Rye Rye and Afrikan Boy).]

Turn the Switches off after night 1.

What does everyone think of Switches and The Bravery taking up TWO whole nights residence at Paradise Rock Club this coming February?

I'm really underwhelmed. Two nights? Really? And with The Bravery? Yawning already.

Switches has never really impressed us with any wow factor two nights gig sorts of stuff; just some more of the same old indie power pop. They certainly pay attention to bass lines, but other than that, is it anything special?

(Side note: Pulp and Circumstance is still pretty shocked the NME said Switches and Pixies in the same breath.)

If it is to you, then we'll bring you some relevant deets: Switches latest album Lay Down Low drops stateside March 18 on Interscope. The UK indie pop outfit will be on tour for much of The New Year, making the aforementioned stops February 18 and 19 at The Paradise Rock Club, Allston.

Let the mud slinging begin! Throw a couple cents into the coin jar and let us know if you think The Paradise will sell these two slots out?

Pulp and Circumstance says, hopefully not.

You decide? Of course!
[Switches - Drama Queen.]

It's called the Track of the Day: One Night in Bangkok.

And the track of the day is...

Murray Head - One Night in Bangkok (1984, Chess soundtrack)

Murray Seafield Saint-George Head. There's not much to say of the British actor and singer who was rarely recognized in his lifetime. He did score a minor hit on American and German radio with our track of the day, "One Night in Bangkok", which he sang for the film Chess, in which he also acted.

Bummers for Murray Head because this song is such total 80s cheese we can't stop spinning it thanks to a listening session which exposed us to the gem last night with sister ChaCha.

The crazy thing? Despite little to no attention, he's managed to put out about 10 studio albums (!) and released another one this past February. Wowsies.

Enjoy the cheese that is our track of the day. Brilliant! There's some pretty remarkable flute playing on it so wait for it...wait for it.

[Murray Head - One Night in Bangkok.]

Minor Threat stayed off the sauce. Now, immortalized in sauce?

Brings a whole new meaning to it's all in the sauce?

Seminal straight-edge D.C. hardcore act Minor Threat fronted by the brilliant Ian MacKaye, a Pulp and Circumstance favorite, is immortalized in the sauce by Wheelhouse Pickles; and the CEO confirms the habanero pepper gold is an homage to one of his favorite outfits.

Read all about it by clicking here. And Minor Threat is cool with it, which makes it even cooler.

MacKaye, who fronted Minor Threat from its inception in 1980 to their breakup in 1983, was founder of Dischord Records and was also vocalist for the brilliant and similarly hardcore D.C.-based band Fugazi, which went on official hiatus in 2002. He strongly urged bands to keep an independent spirit and truly embraced DIY in America. What's more? His old man was a reporter for The Washington Post. Cools.

Pulp and Circumstance plans on ordering some up; there's nothing we love more than straight-edge hardcore from the likes of Minor Threat, Dischord Records fun, and well, spicy foods.

And, being this Pulp and Circumstance, Enjoy!

[Minor Threat - Seeing Red.][Minor Threat - I Don't Wanna Hear It.]

Return to Cookie Mountain.

Pictured Above: My sister ChaCha's cookie extravaganza, which includes homemade raspberry truffles, lemon cookies, Mexican wedding cookies, chocolate peanut butters, cranberry orange pinwheels, cranberry bars, sugar cookies which she painted by hand (!), pecan chocolate rolled cookies, chocolate and vanilla pinwheels, jam filled ones, chocolate sandwich wafers with vanilla centers....and the list could go on!

So I fell into holiday cookie extravaganza today because apparently my sister has been baking like a madwoman for days. Yes, the above pictures have not been doctored and no my sister isn't a professional baker. She's just a nut job who happens to make the most magnificent holiday cookies that are always in hot demand with our closest of friends. My favorite? The coffee cookies with chocolate dipped ends--and ChaCha even made me some special non holiday edition ones with little pink piggies on top because I love piggies so much.

Brilliant! And yes, you wish Nicki-ChaCha was your sisters. But ha, she's mine!

And in honor of the cookie extravaganza I've stumbled into today, I bring you the best in cookie and holidays tunes. Enjoy since this is all you're gobbing up! Pulp and Circumstance feels its waistline growing.

[The Presets - Cookies.][Nat King Cole - The Christmas Song (Chestnuts Roasting on an Open Fire).][Screamin' Jay Hawkins - Cookie Time.][The Kinks - Father Christmas.][Cookie Monster - C is for Cookie.][Diplomats of Solid Sound - Cookie Time.]

It's called the Track of the Day: Gin House Blues.

And the track of the day is...

Nina Simone - Gin House Blues (off 1961's Forbidden Fruit)

The song, which originally appeared on Simone's second album, 1961's Forbidden Fruit at Colpix Records, was a stripped down version that quite highlighted Simone's distinct vocal stylings. But Simone wanted to make the people move, so she re-recorded "Gin House Blues" for 1968 record 'Nuff Said and slapped some serious rhythm on it.

Eunice Kathleen Waymon, known by stage name Nina Simone (when she first began playing in night clubs, she didn't want her Mum to know so she took on this moniker), is considered the "High Priestess of Soul", is known for her rich vocal stylings with an impressive alto range and some serious tremolo, and recorded more than 40 studio and live records, a ton of which we wanted to buy when we saw them in New York this weekend. One made Simone most famous was her brilliant stage emotions, which became evident to the masses who couldn't or didn't attend her shows, on those live records. Simone would take the audience on quite a trip--touching everything from the deepest parts of her depressed soul and by the next tune, she's got the place dancing and moving and feeling like Simone was the happiest person alive. This stage presence is arguably the most significant insight into Simone's life; she was apparently tortured by bi-polar disorder and translated those highs and lows into one of the most magnificent live gigs around.

While she is known best as an aficionado in jazz improvisation on the piano, Simone was classically trained and had hoped to be a classic pianist. She did not like to be pigeon-holed into one genre, say like "jazz", and asked that people describe her music as "black classical".

So today, we bring you some black classical.

And after a weekend with Pulp and Circumstance's best friend Devo, this song felt appropriate because Devo would be the one professing "if this joint be raided, somebody give me my Gin!" It's also absolutely freezing and windy out and I'm hoping the thought of gin will envelop me in warmth before I head out to dig my car out of the iceball in which it currently resides.

Enjoy!
[Nina Simone - Gin House Blues.]
Bonuses? Definitely today!
[Watch Nina Simone work her way through a brilliant, rare jazz improvisation from 1961. Beautiful!]
[Rare footage of Nina Simone doing "Erets Zavat Chalav" in 1962.]

Of Devos and LP Covers.

This is Derek on Friday night in his "sceezy serial killer rapist-esque" pose, or so he calls it.

If Pulp and Circumstance ever makes an album, this is our debut LP's cover.

Brilliant. Beyond. Brilliant.

Enjoy!

[Nirvana - Rape Me (live 1993).]

The surprise! Nifty Gifty for Nifty Friend!

Photo of Jenna showing off the limited edition Thin Lizzy vinyl we came across and scooped up for UnaRocks.

And the surprise if for...

Miss Una Rocks Mullally, who earlier this year sort of inspired Pulp and Circumstance to bring their musical obsessions to the masses in bloggery format.

So thank you Una! In honor of our enduring friendship with you, Pulp and Circumstance picked you up a limited edition pressing of Thin Lizzy's In Sunshine or Shadow, which featured unreleased tracks from their debut record, as well as previously unreleased live material they laid out for The BBC.

Hopefully Miss Mullally doesn't already own this record. You now are the proud owner of limited edition #246. So check your post box!

Music Music Music from The Rocket Scientists of Music!

Photos: Top, Jenna kissing her random lp gem find of One O'Clock Jump by Count Basie and his Orchestra, in pretty mint condition. Bottom, the Breaks and Beats section of the amazing record shop Rocket Scientist, which Jenna spent hours in before having to be dragged out only to spot an amazing Willie Dixon on vinyl in the discount bins as she dug in her heels.

One of the best things about New York is what you can find in a record store. After an all-you-can-drink champagne brunch, Devo took me to record shops across the city, but one of the best I found was Rocket Scientist in St. Mark's Place, which is actually a pretty small, alley like record shop. But the guy working there was the most insane body of knowledge on every LP in the store, plus more, and just the nicest dude, ever.

First, Devo and I went to Love Saves the Day, a famous vintage toy store which also has kitschy items, Beatles, Elvis, and Kiss collectors junk, oddball vintage clothes, and records. It takes time to find gems in a place like that, but we took our time, and I came out on top, snatching up none other than a mint condition Count Basie and His Orchestra LP One O'Clock Jump and an original pressing of Herman's Hermits There's a King of Hush All Over The World, which features the brilliant tune "No Milk Today" which I have until now been unable to find on vinyl. Hurrah! The only hitch in this otherwise amazing record finding giddy up was the lady who checked me out--her fingernails were zebra painted, curled about a hundred times, probably a foot in length, and needed band-aid reinforcement at the nail bed because they were so scary. Scary. Scary. And they touched me! Don't believe me? Ask Devo. And this is what they looked like. I kid not.

After said scary and amazing experience all wrapped up in one emotional little bundle, Devo took me to Rocket Scientist right nearby in St. Mark's Place, which is this little gally-style record shop which is nothing like anything I've ever seen. The organization, despite its size, was impeccable. In the blues section, I adored the tags for "blues" and "white boy blues", which were brilliant. There were also hundreds and hundreds of dub records and I almost bought an original The Congos lp but alas, I put it back and now I'm regretting it. I've never seen so many amazing categories, including "New Orleans jazz" and "Italian progressive" and an entire section dedicated to the brilliant brothers who are Sparks. Wowsers!

I couldn't decide and everything was decently priced, so I scooped up the following after much debate: The Fall's debut 1979 lp Live at the Witch Trials, in absolutely mint condition; The Electric Prunes lp Release of an Oath, produced during the 60s experimental psychedelic band's "Axelrod" period; Joy Division "Out of The Room", which features jam session, soundchecks, live improvisations from Liverpool in '79, and lost tracks; Nina Simone's I Put a Spell on You, with the aforementioned song, "Feeling Good", "Gimme Some", and "Blues on Purpose", a riveting instrumental Simone does; and Sparks 1986 lp Music That You Can Dance To that Curb Records ridiculously re-released four years later as The Best of Sparks: Music You Can Dance To in a bid to make more dough; and of course, one special surprise!

The guy who checked me out was beyond versed in UK psychedelia and The Electric Prunes history. He added a bunch of gems to my Prunes knowledge, which is pretty spotty. He detailed their relationship with RCA resident engineer David Hassinger, their work with Axelrod, and the fact that they never really owned their name which directly contributed to their demise. All interesting stuff! I can't imagine how much vinyl this dude has but it's pretty remarkable. I envy the guy and his knowledge, though psychedelia must be one of his specialties. And when I was looking for their exact addy tonight, I found a quote from a music shopper who mentioned "the guy working was going on and on about UK hard rock heavyweight Status Quo last time I was there", so you get what I'm talking about.

Thank you Rocket Scientist! I'll be back! Devo had to pull me from Mondo Kim's in St. Mark's Place too, and rightfully so since I spent hours at Rockets and spend coin to boot, to thanks Devo!

While Devo picked out some pretty amazing high-tops, the guy working the store told me about his vinyl collection and how he wanted to convert it all to mp3 and then get rid of it. I couldn't believe it! He told me people in Brooklyn just leave lps on their stoops all the time and he was thinking of doing the same before I freaked and then he said he'd "think about it". If I had stayed in New York longer, he would have shown me those Brooklyn spots. Durs!

On the subway back to Devo's apartment with our booty, we listened to some amazing paint pail drumming kids at the Union Square station. So stop by and check them out! A must see.

If you want to visit Rocket Scientist, do so. And ask questions, they're brilliant in there. It's truly mesmerizing and pick me up that Congos record I passed up, along with some break beat compilations and, shit, while we're at it, get me those Biz Markie and Sonny Boy Williamson records I decided to leave in their boxes. The relevant deets? Rocket Scientist, 33 St. Mark's Place between 2nd and 3rd Avenue. Oh, and Mondo Kim's is at 6 St. Mark's Place.

File Under: Good thing I don't live in New York or I'd be completely skint from buying up records.

New York? Yes sir.

Photo: Devo insists I drink whiskey before we hit the Annex to see Blonde Acid Cult and some slaying d.j.'s.

I literally just walked through the door home from a crazy three days in New York. Woosh! Where did it all go? My best friend Devo was the most delicious host, taking me to all-you-can-consume champagne brunches as "hair of the dog", noodle joints, massive record shops, and of course, music gigs and d.j. sets.

We missed UK hip-hopper electro duo Dan Le Sac v. The Scroobius Pip at The Mercury Lounge because we were stuck in a bar having food and drink and totally lost track of time. Oh well, next trip?

The best evening on the weekend was a trip to the Annex on the lower east side, to see this New York band Blonde Acid Cult and resident d.j.'s Nick Marc and Spikey Phil play "indiepoprocksixtiesgrooveselectro&more" for Tis'Was 2.0, yo. We missed a bit of Blonde Acid Cult's set because we didn't arrive until almost 1 a.m. after a deliciously long dinner and bottles of wine at Vietnamese-French fushion bistro Bao Noodles where we met up with former Herald features extraordinaire Heather. Most interesting Heather fact? She's a writer at Parenting Magazine and she doesn't want any children. Ever.

We were sufficiently buttered up when we hit the small, packed stage area of Annex, which boasts a really sick sound system. The noise just hits you like a ton of bricks and I could even feel the raging reverb in my legs. Brilliant! Blonde Acid Cult was quite a New York style Americana band and lead singer Michael has some pretty soulful bellows all while infusing the music with a bit of garage grunge. He quite rocked the striped tank, too. Bonus? This band not only has a drummer, but a percussionist who plays everything from congas to tambos to maracas. All he needs is some timpani or something. Alas, it wasn't anything to go screaming through the streets over, declaring everyone "must" listen to this band. A pretty impressive sounding band in a sea of other similar New York bands.

We heard about four trax before the band was packing up their gear for TisWas's resident d.j.'s. Devo said "the best thing about the band is their name" before we headed to the toilets for a quick break. Devo, of course, used the women's jacks but no one seemed to care and I was dissapointed I didn't have my camera because there was some pretty great artwork in there for Una's blog Jack's Graff. Booosies!

The d.j. sets really starting off slamming at about 1:30ish and it was my first experience kicking up my heels with massive New York hipsters to the likes of Simian Mobile Disco's "Hustler", a really sped up, techno-version of The Gossip's "Standing in the Way of Control", the standards from Daft Punk, and even The Kinks! Amazing! I was quite impressed to be able to dance to The Kinks in a bar. That never happens in Boston. Alas, things began to go downhill before Devo declared, "jeez! Nothing like NOT wowing us anymore" with a slew of sped up remixes, including Justice's "D.A.N.C.E." (yawn).

Let the people grow! How much longer do we have to hear "D.A.N.C.E." barely re-worked, sped up, and its bits played on repeat, cut and slashed a million times? New York City is supposed to have some of the most premiere remixing resident d.j.s and all we got by 2:30 a.m. was tunes that have been out for more than six months and totally in over-driving overkill. Devo agreed, so we decided to brace the sleet and slush and go home but not before he managed to kick in a cabbie's door before chucking my holey shoes in a garbage shoot.

Alas, I fear I need to head back to New York in the New Year to scope out some underground electro clubs, perhaps in Brooklyn. The trip was too short, the weather quite wintery, and the catching up between me and Devo necessary, all resulting in a not so successful attempt to find the best d.j. gigs in the city.

File Under: Those intense New York hipsters need a few hipper d.j.'s!

It's called the Track of the Day: Let's Dance!

And the track of the day is...

Ramones - Let's Dance (Ramones, 1976)

I picked the following track for two reasons: 1. My train leaves for New York in 4 hours so why not a New York band? and 2. We'll be saying "Let's dance!" all weekend in the search for brilliant electronic d.j.'s.

Hurrahs! There's no better way to usher in a New York weekend than with a little Ramones dancing, yes?

The track of the day appeared on the debut self-titled reco Ramones, which dropped April 23, 1976 by Sire Records. It was a monumental moment in punk and its trademark 2 minute tracks--the record, which featured 14 songs on the original release, only clocked in at just shy of 30 minutes. It features all of my Ramones favorites: Listen to My Heart, Let's Dance, 53rd and Third, I Wanna Be Your Boyfriend, Judy is a Punk... O.K. you get the point.

If you're going to own any Ramones records, this is the one. So dance a bit this weekend, and get yourself warmed up with this tune.

Have a great weekend everyone! Enjoy!
[Ramones - Let's Dance.]

New York!

I'm headed off to New York tomorrow for zee weekend to visit friends and of course, search the city for the best little music spots and hopefully hit the best record shops. (And to any friends of mine living in NY I haven't successfully touched based with, call me to meet up! Fun!)

So, alas, no bloggery from Pulp and Circumstance until Sunday night when I get back.

In honor of a trip to New York, Enjoy your weekend!
[The Pogues - Fairytale of New York.][Belle and Sebastian - Piazza, New York Catcher.][Grandmaster Flash and the Furious Five - New York New York.][LCD Soundsystem - New York I Love You But You're Bringing Me Down.][New York Dolls - Looking for a Kiss.][Mookid - Night at New York.][Frank Sinatra - New York New York.][Simon and Garfunkel - The Only Living Boy in New York.]

It's called the Track of the Day: The Party!

And the track of the day is...

Justice feat. Uffie - The Party (L.A. Riots Remix)

Why "The Party" on this insane blizzardy day which means there's absolutely zero partying going on in the city because everyone is burrowing? Well, because the semester is over and tomorrow I leave for New York City to visit best friends and gobble up music.

So, party it up in the snow, people. Enjoy!
[Justice feat. Uffie - The Party (LA Riots Remix).]

Whole lotta love? Hardly.

Pulp and Circumstance apologizes to all its readers not interested in the nitty, gritty in historical music--from the early offerings in jazz, blues, and the like we've been discussing so much of lately. However, you can thank all the readings we've been gobbling up on blues and jazz, which basically means that's all the music we've been listening to.

Plus, it's the end of the year, people, so there isn't much in the way of new records to discuss. These "historical" perspectives always come at the end of the year as a bit of a reflection, despite the fact that Pulp and Circumstance is reflecting on times decades and decades ago. Still, it's important to know a little bit about where the music you may adore actually came from.

So, we're going to tell you. Much of early African-American music in the states has been ripped off in some way or another by white people. Whether its the gigantic star that was Elvis Presley, or the cheesy artist appealing to the ladies, Pat Boone, or the behemoth quintessential rock musician that was Jim Morrison. They've all done it. Never mind the fact that almost all music created, even today, has its roots in the dabblings black artists played around with starting at the turn of the 20th century. You like distortion and feedback? Well America's black blues artists in the Delta were the first to experiment with this, so thank them.

We've rounded up some of the best known "stolen blues" tunes. What does that mean, really? It means the black artists who originally wrote and performed the tracks went virtually unrecognized in mainstream music for them. Instead, big time bands discovered those tunes and laid out their own versions. The result? Mega-hits. Sometimes royalties were paid to the original creators, sometimes not. It all depended on whether the original artist was given "writing credit". Either way, brilliant songs written by brilliant musicians were made hits for other musicians. Hence, "stolen blues".

And mega star Elvis Presley was one of the "stolen blues' biggest sinners, racking up an astounding three slots on our list of the 13 blatant rip-offs Pulp and Circumstance could muster up.

Without further babble...here goes it!

Elvis Presley totally ripped off the 1952 tune when he heard it sung on the radio by the original brilliant artist that was Big Mamma Thornton; he recorded it three years later and it catapulted him into stardom:
[Big Mamma Thorton - Hound Dog.][Elvis Presley - Hound Dog.]

While this song, originally recorded by Fats Domino, gave him a regional hit in 1955 and eventually selling a million copies, it was Pat Boone who laid it down and put an essential "white spin" on the tune, which catapulted him to #1 on the Billboard Charts the same year. Ultimately, Fats Domino's version was hailed and his music was "brought to the masses" if you will. Still, Pat Boone was a lame, teen pop star with little lasting talent of his own. He has Fats to thank, but all he wanted to do was change the track's name from "Ain't that a Shame" to "Isn't It a Shame" so as to "appeal to a wider audience". At least his producers had some sense. Little interesting fact; Pat Boone is now a conservative political commentator. Oh the sweetness:
[Fats Domino - Ain't that a Shame.][Pat Boone - Ain't that a Shame.]

Blues impesario Hooker originally laid this down in 1949 after some tutelage from Big Joe Williams before it miraculously appeared on The Doors record L.A. Woman some 20 years later:
[John Lee Hooker - Crawlin' King Snake.][The Doors - Crawlin' King Snake.]

Vera Hall sang this for a 1930 recording by none other than the brilliant Library of Congress Folklorist Alan Lomax we've talked exhaustively about here at Pulp and Circumstance. Who knew that the masses would here it 60 years later in its unstripped down form with lush production on the ethereal, addicting Moby album Play:
[Vera Hall - Trouble So Hard.][Moby - Natural Blues.]

Written by blues man Willie Dixon for Muddy Waters, "You Need Love" was eventually ripped off by Led Zeppelin their song "Whole Lotta Love"; Robert Plant ripped off the lyrics with absolutely zero attribution to Willie Dixon. Dixon sued Robert Plant in 1985 and settled out of court to receive royalties on the track. The band Small Faces also ripped off parts of the Dixon tune in 1965 with no attribution:
[Muddy Waters - You Need Love.][Led Zeppelin - Whole Lotta Love.]

Willie Dixon wrote this tune just for Otis Rush before it put Led Zeppelin on the map with a version on their debut 1969 record Led Zeppelin; it has since been considered one of Led Zeppelin's best live tunes:
[Otis Rush - I Can't Quit You Baby.][Led Zeppelin - I Can't Quit You Baby.]

Big Bill and his acoustic guitar created "Key to the Highway". Notorious mimicker Eric Clapton and his band mate Duane Allman beefed it up by going electric and smacking it on the Derek and the Dominos record Layla and Other Assorted Love Songs:
[Big Bill Broonzy - Key to the Highway.][Derek and the Dominos - Key to the Highway.]

The father of blues Big Joe Williams gives Van Morrison his first big hit, all the way in Belfast. I used to dance around to Van Morrison's version one summer when my family rented a blue house on a lake before discovering years on a Big Joe Williams record my father owned. But that's not to discredit the incredible voice and stage presence of a man like Van Morrison:
[Big Joe Williams - Baby Please Don't Go.][Van Morrison and Them - Baby Please Don't Go (watch the hilarious dancing from the white people in argyle sweaters really getting down?).]

"Little Red Rooster" was written by Chicago-based writer, bassist, and blues brilliance Willie Dixon for Chester Burnett, aka Howlin' Wolf. It delivered the Rolling Stones a 1964 hit, which they still make excellent money off of today:
[Howlin' Wolf - Little Red Rooster.][The Rolling Stones - Little Red Rooster.]

Oh, shocker. It was Elvis Presley's first single in 1954 for Sun Records. At least "Big Boy" was credited as the writer on this tune:
[Arthur "Big Boy" Crudup - That's All Right Mama.][Elvis Presley - That's All Right (Mama).]

Made famous thanks to The Yardbirds. It was covered by tons of others, too, like Van Morrison and Taj Mahal:
[Sonny Boy Williamson - Good Morning Little School Girl.][The Yardbirds - Good Morning Little School Girl.]

Elvis Presley. Again. The amazing thing? His producer at Sun Records, Sam Phillips, laid down the track with Little Junior Parker years before!:
[Little Junior Parker - Mystery Train.][Elvis Presley - Mystery Train.]

Pure Cream gold. Eric Clapton went on to call that extensive box set of his "Crossroads". The record this appeared on also included tunes by Muddy Waters and Howlin' Wolf, which helped catapult Clapton to fame:
[Robert Johnson - Crossroads.][Cream - Crossroads.]

Every now and then people like to do things nice and easy. There's just one thing. We never, ever, do nothing nice and easy.

Ike Turner has died. The prolific musician, oft remembered as leading the life of a coke-addicted wife beater, was 76.

Turner, who could very well be credited with creating one of the first true rock n' roll tunes ever with track "Rocket 88" billed under Jackie Brenston and His Delta Cats, unfortunately will forever be marred by his tempestuous nature-- severely smacking around one of the most beautiful, inventive, and curiously unique singers of the past 40 some-odd years.

Ike Turner may have discovered the fiery kitten that was Anna Mae Bullock in 1956, but he didn't create her talent. While their sparks flying relationship was documented in the moving film What's Love Got To Do With It? (Laurence Fishburn played Ike himself), the explosive stage presence Ike and Tina Turner shared on-stage was even more fiery than that of their private life. So for that, we will only focus on the music Ike made, which included hits like "Nut Bush City Limits" and "Proud Mary", and even their not so amazingly successful sessions with legendary music producer Phil Spector, which pumped out "River Deep -- Mountain High".

At the time of his death, he was apparently working on a new album for The Black Keys and Danger Mouse. He even won a Grammy nod for "Best Traditional Blues Album" this year with record Risin' With the Blues.

What we have is a bit of a retrospective in Ike's contributions to music. No one can deny that "Rocket 88" is the most blissful of early rock n' roll magic. A true Pulp and Circumstance favorite. So really move to it today. Enjoy.

[Jackie Brenston & His Delta Cats - Rocket 88.][Ike and Tina Turner - Cussin', and Cryin', and Carryin' On.][Ike and Tina Turner - Proud Mary (live.) It's nice and easy.][Ike and Tina Turner - Nut Bush City Limits.][Ike Turner and The Kings of Rhythm - Gettin' Nasty.]

Bonuses?

[Get the goosebumps when you watch Ike and Tina perform "Proud Mary" released thanks to TimeLife in honor of their three disc Ike and Tina commemorative box set.]

It's called the Track of the Day: A Lover's Concerto.

And the song of the day is...

The Toys - A Lover's Concerto (1965)

This song reminds me of driving around with my mum because it was always a staple on any mix tape she owned and she bopped her head and tapped my leg as a child to get me in rhythm with the wonderful ladies of The Toys. There isn't much to tell you about the American girl group, formed in 1961 in Jamaica, New York before being reduced to rubble in 1968.

The track of the day "A Lover's Concerto" was their biggest tune, written by hit-making geniuses Sandy Linzer and Denny Randell, who worked with The Monkees, Franki Valli and the Four Seasons, The Four Tops, and well, The Toys. "A Lover's Concerto" topped the charts at #2 in America and #5 in the U.K., sealing their fate of an appearance in a teen beach movie, a performance on American Bandstand, and one more hit in their cover of "Sealed With A Kiss".

Enjoy!

[The Toys - A Lover's Concerto.]

Bonus?

[A pretty grainy T.V. performance of The Toys doing "A Lover's Concerto".]

Women Make Natural Anarchists.

This is called Blurring the Lines: Women Who Taught Me To Rock. A Retrospective.

I'm so close to being done with my semester of schooling that I was just letting it all loose in my living room this evening to Patti Smith's "Summer Cannibals" when I sort of stopped to reflect on Women in Rock, the chicks who said "f**k you" to an establishment of males with sick guitar licks and prostrations on stage, and declared "me!" as the next best thing in the glamorous world of piss and beer and Jesus-esque poses on amplifiers.

My mum always told me to fight for what I wanted to become and to never accept any less. She taught me that women who turned their backs on societies norms were true inspirations. Women like Jane Austen, Dorothy Parker, Georgia O'Keefe, and well, Patti Smith.

Most importantly, Patti Smith... the poet laureate of punk rock whose androgynous, gritty persona was a major "pfff" to conventionalism and the Disco dames like Donna Summer who were on their way out. She made no apologies, and eventually, no one asked for them. There's a reason why Rolling Stone, as arbitrary as they may sometimes be, makes lists--and she clocked it at a staggering #47 on the list of the Top 100 Artists of All Time.

And it isn't just about Patti Smith. It's about Janis Joplin despite her drug troubles; it's about Grace Slick, for pointing a pistol at the pig, despite the fact she's a worn-out boring old hag these days (I have proof!); it's about Joan Jett letting everyone know she doesn't give a shit about her reputation; it's about Tina Turner, from her days with Ike to her days free--she was my first real, true concert; and it's about Penetration and X-Ray Specs and Siouxsie and the Banshees because those bands were made by women and moved by women.

Maybe this all comes to me because I can't put down Journalistas: 100 Years of the Best Writing and Reporting by Women Journalists, which features some of the most controversial writing on sex, body image, emancipation, having it all, war, and iconoclasts including the 1963 Observer piece by Katharine Whitehorn titled "Sluts I".

Much of the empowerment of women can be attributed to this emerging presence of women in writing, politics, and, well, rock n' roll. It spawned the entire Riot Grrrl movement, the female response to the men's world of Seattle grunge in the 90s; the venomous outburst in feminist, punk, unkempt hair, and claws. Unfortunately, while the Bikini Kill, Hole, Huggy Bear, and Bricks Are Heavy were on their way out, there wasn't much left to pick up the pace. All we have left of this ruckus is Le Tigre and the recent ashes of Sleater-Kinney.

While I've never been some crazy feminist (I've often professed the ideal situation would be to stay at home, bake, knit, and devour books all day like Susan Kaufman's "Diary of a Mad House Wife"), these women allow me to make aforementioned statements about knitting, Seconals, and cinnamon cakes. Because if it weren't for them, I'd probably be wishing I weren't knitting and baking like Donna Reede.

I'd be swimming in Seconals and I certainly wouldn't be going to gigs....

In honor of the women who helped me fall in love with music, Pulp and Circumstance brings you "Blurring the Lines: Women Who Taught Me To Rock. A Retrospective."

Enjoy!
[Patti Smith - Kimberly.][Penetration - Don't Dictate.][Joan Jett - Bad Reputation (live 1982).][Janis Joplin - Little Girl Blue.][X-Ray Specs - Oh Bondage. Up Yours!.][Siouxsie and the Banshees - Christine.][Patti Smith - Because the Night.][Blondie - X-Offender.][Tina Turner - Nut Bush City Limits.][Grace Slick with Jefferson Airplane - White Rabbit (live at Woodstock, 1969).][Janis Joplin - Cry Baby.][Bikini Kill - Rebel Girl.][Huggy Bear - Pansy Twist.][Peaches - AA XXX.][Le Tigre - Deceptacon.]

It's called the Track of the Day: Cold Weather.

And the track of the day is...

Lee "Scratch" Perry and The Upsetters - Cold Weather (off 1974's Double Seven)

One of the most influential artists in reggae, and more importantly, dub, is bringing a bit of warmth as Boston gets into the nitty and gritty of the winter months. My sister and I were chatting about it a few days ago, and declared there's nothing to warm you up like listening to reggae, dancehall, and dub during the most freezing times. It immediately makes you feel warm. Transported into paradise.

"It's the best time to listen to reggae," my sister told me.

I wholeheartedly agree. And that's why we've dug into our collection and pulled out some Lee Perry at his height; while known as "The Upsetter", the Upsetters is actually the name of the house band that played as backing on hundreds of Perry tracks. Our track of the day is featured on the brilliant 1974 record Double Seven.

The coolest thing about Perry? He was the one who created dub music on a raggle taggle mixing board in the mid-1970s. He built a studio with beat up equipment in his backyard, known then as "The Black Ark". Apparently, because he was now producing, he could spend as much time as he wanting mixing and reworking tracks, and while he did it on some pretty unremarkable equipment, he managed to make some pretty damn remarkable music--a sign that the man behind dub is truly a switches and nobs genius. "The Black Arc" studio played host to some of the best reggae acts of the time, and ever, quite frankly, pumping out records from Bob Marley and the Wailers, Junior Murvin, The Congos, and The Heptones.

If you've never waded the Jamaican waters, Lee "Scratch" Perry is a pretty perfect place to start.

Enjoy!
[Lee "Scratch Perry and The Upsetters - Cold Weather.]

MmmFrosted...Finally! I've been in sugary indie pop with Jessica George withdrawel.

Finally! Blame Jessica for her inability to be consistent. A third installment of MmFrosted, our good friend and guest blogger on the Kiwi scene Jessica Mimsie George's internet radio program, is up and available at Jam Radio.

So go listen to it now. Here.

Of course, only Jessica can bring you some serious Gogol Bordello gypsey punk madness (we are so glad this band exists because its so in line with a gal like Jessica George, honestly, it would be a travesty to her listening experience not to behold the beauty and rowdiness that is G.B.) and segue so easily into the sytlings of Wellington's own Tommy Ill (sp?) and the tune "I'm so Famous" before wooing us with some Ash.

PLUS! We absolutely adore her for paying mind to our request to play Roots Manuva's "Things We Do" because it is absolutely Pulp and Circumstance's most favorite rap tune. EVER. Mim is gold! So listen to it just to hear that tune, if nothing else. Jenna is described as "a lovely woman" (I like that, it makes me feel sophisticated even though I'm so far from that) and Pulp and Circumstance gets quite a shout out. So thanks Mim! *The seat's still yours Jessica if you want to travel through Europe to review festivals this summer. Not kidding. Totally serious. P&C needs a travel mate and you're the best one!

If you missed her last two shows, they're available at the above link or you can check out our previous posts here and here. And if you're completely unawares (still?) that she guest blogs for Pulp and Circumstance about what's going on in the indie music scene all the way the hell in New Zealand, well then go back and read Installment One and Installment Two of "Sweet Kiwi Treats". She features some brilliant bands like Phony Bone and The Sneaks.

Enjoy!

Roller-skate your way into this mix.

Since I got to thinking about roller skating last night with the post on Stax Studios and a trip to Cleveland, it made me want to compile the greatest songs to roller skate too. My sister ChaCha would know even more songs, so I declare she must comment in this forum about the best songs to skate too. And maybe we'll go skating soon.

So throw on some leg warmers, get crazy in spandex (my sister had a pair one leg fluorescent orange the other yellow - amazing!), and flex your skating muscles.

Enjoy!
[Jean Knight - Mr. Big Stuff.][Tiffany - I Think We're Alone Now.][Bay City Rollers - Money Honey.][Kraftwerk - Trans Europe Express.][Newcleus- Jam On It.][Prince - Housequake.][Rick James - Super Freak.][Nena - 99 Luft Balloons.][Zapp and Roger - More Bounce to the Ounce.][Olivia Newton John - Physical.][Wham! - Wake Me Up Before You Go-Go.][Ah-ha - Take On Me.][Bananarama - Cruel Summer.][Culture Club - Karma Chameleon.][Blondie - Call Me.]

And the winner of the giant bowling ball and trophy is....

O.k. kittens! The moment you've been patiently waiting for....

Our Holiday Mixes Contest brought in a total of 34 responses, but only three of you actually included Holiday Songs so apparently that ISN'T a hit. Thanks to everyone who sent along their picks -- we saw a lot of similar tunes, and we saw a descent number of all over the map records, which makes Pulp and Circumstance so proud. We adore how eclectic in musical taste our readers are!

It was quite hard to pick but I must point out how it went on. Only five of you actually gave me descriptions of why you made the selections you did, which was in the rules! C'mon people. Slackers! So, I decided despite the amazing selections on many people's lists, I had to pick someone who actually followed the requirements to a T. If you have issue with that, we can take it out to the back.

I was so pleased with rationales for Miss Una Rocks Mullally of Dublin and Miss Julia Wilson of New York City -- you guys really convinced me! Alas, there was one reader who truly took me for a run, and I loved every second of it

And this reader is our winner. Pulp and Circumstance has never met him, but we'd like to. Drum roll please?

The winner of five free itunes, a P&C tshirt, badges, and a bundle of our favorite music from 2007 plus the Mix you created is..............

Pete in Sommerville, who apparently said he reads Pulp and Circumstance "like we'll be rationing it tomorrow". Amazing! Pete tells us he's 27, has an incredibly boring desk job he's constantly figuring out how to get out of, and is always that guy with the headphones on, just totally in his own world. The kind of guy who is having so much of a moment with that tune, you wish you were listening to whatever it is he is...

But since about 5 other of our entries were so good (Una - you lost it on the Britney Spears! I know it's you and all, and I can accept that, but it's the cold hard decision-making truth or you would have been our winner, Julia, Steven Ryan, Niall, and Mike Swidrak), we're going to mix those up as well and send them out. So thanks!

Now! Don't you guys want to know what Pete included? Take note of his brilliant descriptions. We'll unroll the other five we loved this week and email wolf.jenna@gmail.com if you want bundles (include where they should be sent!), which will also include mixes made by Pulp and Circumstance. We're going to compile all the lists and convert them to mp3 so you can podcast them up and enjoy as we move into a brand new year in music. Hurrah!

Without further babble, we introduce you to Pete!

Hi. I've never commented on your blog but I definitely read it like tomorrow we'll be rationing it. So I decided to enter because I'm always looking for things to pass the time at work. And on Fridays when I'm dying to get out of here, you're Friday tracks of the day usually get me through the last hour so I owe it to P&C to enter my two cents. I’ve also loved making lists, but music lists are most difficult because you have to a.) sum up your music taste in one tight little mix and b.) you have to think about progression, transition, and justification.

Music is so personal. It really is. I like how Pulp and Circumstance always mentions that. But I think while music is so personal, it is one of the few things left that really unites people. And that’s the inspiration for a year in music 2007, which saw me sort of become insanely obsessed with dance music. The indie kids are finally dancing and I’m shuffling right along with them.

1. Simian Mobile Disco – I Believe. (best in electronic dance; when I saw them at Avalon in September, I seriously lots my socks. The energy from Jas Shaw and James Ford’s equipment was like nothing I’ve yet to experience at an electronic gig. I thought those bug zap lights would zap the crowd the levels were so high. Pure insanity. The place was dancing like a completely hyped up on Ritalin bitch.)
2. Battles – Atlas. (please personally email me if you get any lists with this tune left off. That’s my descriptor.)
3. Architecture in Helsinki – Red Turned White. (Saw them at the Paradise and was immediately taken despite only hearing “Heart it Races” thanks to the Pulp and Circumstance blog. The layering and harmonizing with that slight pop underhook is what attracted me most to this tune. It sounds a bit like Modest Mouse, only better because Modest Mouse may have been good once ago, but not anymore. It’s modern but edgy but electronic but light and sentimental.)
4. Amy Winehouse – He Can Only Hold Her. (Everyone picks “Rehab” and I would too except for this is the little quiet jewel in a sea of other diamonds. Amy’s singing to me, did you hear? And I love that sassy “psssff” she gives in its first 30 seconds. So this is the song of the year off that record.)
5. M.I.A. – Boyz. (She continues to push the music world into new and innovative places. And she always wears the chillest sneakers.)
6. The Cribs – You’re Gonna Lose Us. (This song reminds me of everyone at some point or another. And it’s actually kind of discussing a shit topic by talking about being a drunk asshole but it’s got a happy melody. Weird. Cribs are straight good indie guitar rock. And mix all that alcohol they consume, you never know what you’ll get. I’m still bitter they canceled their tour through Boston a couple weeks back now. But not bitter enough to say this song doesn’t deserve a bit on the list.)
7. Animal Collective - #1 (It makes me want to watch the Twilight Zone or something. It’s so bizarre I can’t quite say why it makes this list other than I’ve heard absolutely nothing like it before. Plus, you can’t leave Animal Collective off the list since it’s the only band this year that a mother has called the police and claimed was a cult act. Amazing stuff! And you can’t pick Peacebone unless is the Pantha du Prince remix but even that’s too obvious. So #1 it is. Though not in the number one slot like SMD).
8. Cansei de Ser Sexy – Let’s Make Love and Listen to Death from Above. (I know that this record technically came out last year, HOWEVER I’m going to justify it on this list. I didn’t discover it until I was riding in my brother’s car this summer and it was on a mix he had. It nearly blew me away. I immediately wanted to dance to it despite the creepy, haunty undertones. It wasn’t like much anything else I’ve heard in a long while.)
9. Arctic Monkeys – If You Found This It’s Probably Too Late. (Arctics This song just comes at you with no pretension and no apologies. It’s a bit different than their other stuff because it’s so heavy. And that’s why these kids shit gold. And I’m willing to pick it up. One minute it’s getting into the best groove space with surf guitars, hip hop beats, and Dizzee Rascal, the next minute their just deep in the bass and heavy heavy heavy before lightening it up and all of a sudden Alex Turner is sentimental as hell and shows us his softer side. Their newest record is a surprise after the next, but their b-sides show their depth. Saw them in Avalon and prepared to be under whelmed since I’d read their live performance is strict, no bullshit. I was beyond overwhelmed. These kids are doing something too right. If you’re not a fan, go see them live.)
10. Handsome Furs – Dead and Rural. (The little side project to Wolf Parade brings you to a dance electronic place. I dance all over that dance electronic place. Actually heard this song for the first time on myspace when I was being nosy about an ex girlfriend and this was her song. At least I can thank her for something, right?)
11. Fight Like Apes – You are the Hat. (I absolutely thank Pulp and Circumstance and your friends for introducing me to this brilliant Irish act for which I would otherwise know zilch. The short EP is amazing straight through, but this song’s layering, static guitars, and blips and bleeps puts me in meditation space without being safe. I love it.)
12. Justice – New Jack. (This year is all about the dance electronic. It rules the indie world and beyond. I was a live set from this d.j. in New York back in the summer and he remixed this like the bees. If I had the remix, that’d be the one. But this guy was just a regular old jack remixing New Jack. But Justice created the song in the first of it, so here it is in all its jackin’ glory.)
13. Bonde do Role – Office Boy. (Brazil opens it up and take the world by storm. This baille funk introducing me to a whole sick genre and we have Domino to thank for its distribution. Unlike anything else out right now. And it makes me feel not so bad about being a drone in a cubicle.)
14. Glass Candy – Etheric Device. (The rest of B/E/A/T/B/O/X is basically crap but this song just grabs me and moves me.)
15. Dan Deacon – The Crystal Cat. (So bizarre. So cool. Innovation!)
16. Les Savy Fav – Pots and Pans. (Six years never did any band so much good. A stylistic change and a change worth noting. This record wows me, and particular opening track Pots and Pans. I’m pleased to see the embrace of more lush production. It suits them.)
17. The National – Start a War. (A pretty much overrated band generally speaking but this song will get me every time. It’s so bleak but at the same time, so moving.)
18. Beirut – A Sunday Smile. (This whole record is so weird but it’s Beirut. I’m supposed to like it. Is that a bad answer?).
19. LCD Soundsystem – Someone Great. (The effects on this song are so addicting.)
20. Rihanna - Umbrella. (Song of the summer. Everyone loved it. If you say you didn't you're a damn liar. And it doesn't hurt that Rihanna is one of the sexiest women in music right now.)

It's all about remembering Stax Studios in Pulp and Circumstance's Midnight Hour.

Don't remember exactly what I was looking for tonight when I stumbled upon this pretty little article that appeared in The New York Times this past August about famed Stax Studios in Memphis, Tenn. But I decided: what a perfect opportunity to compile the greatest in Stax Studio-produced artists and what came of all those sessions.

Apparently there was some great PBS documentary on the history of Stax Records this past summer, and we missed it. Bummers!

My father had the Wolf Clan children raised on Stax Studio recording artists and often played them in his car on driving trips. My sister ChaCha is a wealth of knowledge in Stax Studio artists and I've swiped parts of her deep catalog to make duplicates in a quest for my own personal collection development. There's no better person than ChaCha to look to for music with a groove; for music with the soul unearthed, not quietly lurking beneath the beat. And I thank her for that, in the vein of Sam and Dave.

Stax Studios was founded by Jim Stewart in 1957 Memphis, Tennessee in a city garage. Originally putting out country records, Stax began releasing rhythm and blues tracks and were at the forefront of helping to establish the Southern Soul genre. By the early 1960s, it was churning out Chicago blues recordings and funk records. While a majority of their bill featured black artists, it was one of the few labels at the time that had several integrated groups. Atlantic distributed the Stax pressings but unfortunately, Stax went belly-up in 1976 and was bought by Fantasy Records--but not before it produced brilliant musical bits by Booker T. and the MGs, Sam and Dave, Rufus and Carla Thomas, Wilson Pickett, and Otis Redding, to name a few. While most of those artists fled to other labels with the financial difficulties, Stax as an independent managed to squeak out some brilliant hits from funk master Isaac Hayes during the greater portion of the 1970s.

Stax Records brought me The Staple Singers; for without them, I would not have been able to shake it around my little box room to "I'll Take You There" in the 6th and 7th grades, which I did religiously. And no one would have been able to "get funky" to one of their few blues artists, Albert King. So be thankful that you "wanna get funky".

I recall a number of Stax Studios moments when ChaCha, myself, my mum, and dad hopped in the car and headed for the Rock n' Roll Hall of Fame. I remember heading through Ithaca, New York (to see our old home) on the path to Cleveland and blasting the likes of The Staple Singers, Isaac Hayes (Pulp and Circumstance's father's favorite!) and Otis Redding. I think those moments were more fun than the museum itself, which proved to be a bit of a disappointment minus Janis Joplin's custom mushroom car paint job and that random dude that was rollerskating in spandex down a deserted downtown Cleveland street at 3 a.m. (a ChaCha favorite memory!).

Stax is apparently a pretty slick American Soul Museum now and I would give anything to take a drive down there this summer to check it out. I just need some traveling friends to with; preferably those who like soul, funk, blues, or shit, music in general. Oh, I'll need an excuse to just drive down there too. Perhaps I should work on that one first...

So, in honor of my autobiographical trip to Stax Studios, Pulp and Circumstance brings you its best!

Enjoy!
[Booker T and the MGs - Green Onions.][Otis Redding - Try and Little Tenderness (live at the Monterey Pop Festival, 1967).][The Bar Kays - Soul Finger.][Sam and Dave - Thank You.][Eddie Floyd - Knock on Wood.][Isaac Hayes - Walk on By.][Wilson Pickett - In the Midnight Hour.][Isaac Hayes - Theme from Shaft.][Otis Redding - (Sittin' On) The Dock of the Bay.][The Staple Singers - Respect Yourself.]

Of Jelly Rolls, Jazz Pianos, and Library of Congress Musicological Folklorists.

This is Alan Lomax, the greatest known Musicological Folklorist in American history, as he lays down some field tracks. And thanks to Lomax, I've been discovering the music of some of the greatest banjo players in Appalachia and more importantly, Jelly Roll Morton, given name Ferdinand La Menthe.

Lomax, who went in search of the greatest American musicians in the early part of the 20th Century in order to lay out recordings for documentation in the Library of Congress, had done repeated interviews with the man that is Jelly Roll Morton, considered one of the greatest jazz pianists to date.

Lomax recorded a series of interviews with Jelly Roll, which are widely available today thanks to the internets. I've searched my Complete New Yorker back catalog for writings on Alan Lomax and came across a brilliant profile of Ferdinand La Menthe in the June 23, 1980 edition of The New Yorker in which Jelly Roll discusses voodoo in New Orleans with Lomax.

Jelly Roll, a black creole who claims to have written more than 1,400 songs, told Lomax: "Some ... some say voodoo. But we ... it's known in New Orleans as hoodoo." And this is how I discovered Jelly Roll's rare tune about hoodoo history, which is quite fascinating and thanks to Lomax, includes the full text of the lyrics in his documents.

What I've loved most in my readings of Jelly Roll is his sheer braggadocio--but it may be warranted based in his vast knowledge of early jazz in New Orleans, which he details for Lomax hour after hour.

If you're into the origins of ragtime, dixieland, and class jazz, Jelly Roll is for you because he's considered to be one of the first true composers of these genres. Bonus? The man was a vaudeville comedian, too.

When Jelly Roll relocated to Washington, D.C. to become house pianist for a then well-known jazz bar called the Music Box in the all black neighborhood known as "Shaw", this is where Lomax discovered his body of work and asked for a short interview with musical examples. It ended up turning into more than eight hours of interview interspersed with Jelly Roll on the piano really working it. Lomax went on to interview Jelly Roll at length, often taking notes rather than recording.

And for these reasons, I wish I were Alan Lomax. The man was a genius and got to chat with musicians and go into little dive bars and discover what was going on outside the mainstream for his job. What a lucky ass.

I've also been sickeningly obsessed of late with this 20-page document by the Library of Congress as a "finding aid" for their entire Jelly Roll collection. This is why I'm in library school--I want to build these!

What I really want for Christmas? The EIGHT DISC BOX SET OF THE COMPLETE LIBRARY OF CONGRESS RECORDINGS. AMAZING!! Pure gold. Pure expensive.

And here's a great little biographical sketch on Alan Lomax if you want some further reading. I like this one too. I can also let you borrow a copy of that profile from the New Yorker. Just ask me for it and its yours. And this is the most extensive site I've found on Jelly Roll's recordings.

Enjoy!

[Listen to Jelly Roll Morton and his Red Hot Peppers do "The Chant" live in 1926.] [Here they are doing "Sidewalk Blues". Brilliant.]

Alan Lomax bonuses!

[Watch Alan Lomax head through Appalachia to discover and hear music. Loads of awesome banjo.][Alan Lomax documentary on the evolution of American Music called "The Hear Your Banjo Play", 1947. Brilliant! Narrated by Peter Seeger.]

ATTENTION UNA ROCKS MULLALLY!!

UPDATE! TRANSMISSION RECEIVED! THANK YOUS!

This is a post as an attention snatcher to Pulp and Circumstance's good good good good good friend UnaRocks Mullally.

We still have not received your list of traxx for the Fruitcake Contest, which I know you've sent to several of our email addresses and we've tried to email you but haven't heard word. We still HAVE NOT received your entries and don't want you to be left off judging since you took the time to do it like the brilliance you are.

PLEASE PLEASE PLEASE call or return my texts or post your entries to Pulp and Circumstance's facebook or myspace pages, or my own personal pages. For some reason, we aren't receiving it, so maybe there's an issue with your email server.

Thanks much lovely! Oh, read Una's blog.

Volt-age Up!

The Mars Volta have announced (finally!) a slew of dates for the beginning part of 2008 to support a brand new LP.

How long has it been?? The Bedlam in Goliath will drop January 29, smack dab in the middle of a whole bunch of dates, which doesn't include Boston but does see them hit Lupo's in Providence (January 12) and Terminal 5 in New York (January 14), as well as a a gig at Toad's Place in New Haven, Conn. (January 11).

So if you want to go hear the new record live before its even out, this tour's for you. I wonder what it would be like to hear them drop a pretty substantial tour with most of the dates coming before the record release? Pretty genius marketing whoever is behind that. What does everyone think of hearing an album (which is usually conceptually very complex for a band like Mars Volta) initially live, amongst a sea of M.V. classics? Would it change your opinion of the release? Interesting...

Some deets about The Mars Volta for those of you who want 'em! The little side-project De Facto of the brilliant band At the Drive-In came into its own in 2001 thanks to Cedric Bixler-Zavala and Omar Rodriguez-Lopez and became The Mars Volta. (Side Note: The other half of At the Drive-In went on to form Sparta)

The band is really into the whole psychedelic jazz-funk-electronica hybrid with a sprinkle of salsa and well, saving the best for last, Progressive Rock! Yes! Pulp and Circumstance certifiable goodness.

The Mars Volta kicked off their immense, epic recordings with the Tremulant EP in 2002, which saw a really small release from Gold Standard Laboratories. Eventually, they put out debut full length (and Pulp and Circumstance FAVORITE) De-Loused in the Comatorium in 2003. Since then, they've managed to churn out one of their most complex concept albums to date, Frances the Mute, in 2005; subsequent releases include Amuptechture in 2006 and that random Live EP back in 2003, which I believe only got limited edition treatment (Correct me if I'm wrong!).

Since 2006, the band has been relatively mum on any upcoming releases, and has released tidbits regarding their brand new record The Bedlam in Goliath in the last few months.

If you like storytelling rock, progressive rock, and intense guitar riffs, this band is for you. Bands that have been said to take much of their influences from the intense guitar stylings of Omar Rodriguez-Lopez and the "slay the dragon" type storytelling lyrics of Cedrix Bixler-Zavara include Nyack, New York's own Coheed and Cambria, though many would say C&C take those concepts and flip them with "emo". I don't know how I feel about this distinction...

Nonetheless, The Mars Volta apparently put on a momentous live act, with some serious visuals. Pulp and Circumstance has never had the chance to see them live, but used to enjoy playing Frances the Mute on Hot Garbage, a little radio show we had with Jessica Mimsie George back in Boston University. I do know my ex-boyfriends little brother was a huge Mars Volta fan and once went to one of their gigs in New York and his Dad took him. His dad sat with his coat over his head the whole time. So you may imagine...

And lucky for you, they'll be stomping and prog rocking their way across the country this January, so go check them out live. We'll be there.

For all your listening pleasure, we take you back through The Mars Volta and beyond! Enjoy!
[This is the new tune by Mars Volta, "Goliath" off the forthcoming record.]
Live gigs? Holy shit.
[Watch the Mars Volta perform "The Widow" off 2005's Frances the Mute, live at the Phoenix Theatre in August 2006.]
Way Back??
[Listen to them get their start as one half At The Drive-In. This is our favorite of their tunes. It's called "One Armed Scissor".]
Another side project?
[This is the other half At the Drive-In. The name's Sparta and this is our favorite tune of theirs. It's called "Cataract" and reminds Pulp and Circumstance of living in Washington, D.C. It was on repeat back then. So Nostalgic!]

It's called the Track of the Day: Holland, 1945.

And the track of the day is....

Neutral Milk Hotel - Holland, 1945 (from 1998's In an Aeroplane Over the Sea)

Neutral Milk Hotel always reminds me of a time. Wherever I was listening to NMH, or whenever I popped in my favorite of their records (the aforementioned In an Aeroplane Over the Sea), I can remember everything straight from the time. For some reason, this record in particular brings me back to two of those times: late night drives home from my old job at the Boston Herald (I would often just scream to King of Carrot Flowers Parts 2 & 3 like it was going out of style) and this one time an old friend and I decided we'd have a dance off and we wanted to try and do it to this record. Believe me, dances got quite creative. We should definitely do that again. I miss that.

The band came to fruition out of the brilliant American indie sect known as the Elephant Six. If you don't know much about the Elephant Six, it was a recording collective based in Athens, Georgia that produced some of the most influential American independent bands of the 1990s--like Beulah, Elf Power, The Apples in Stereo, Of Montreal, The Olivia Tremor Control, and hurrahs, Neutral Milk Hotel!

And NMH's lead vocalist Jeff Mangum was one of the six's founding members. The label eventually disintegrated in the early 2000s with the success of some of the bands. You may have noticed the Elephant Six logo on the Apples in Stereo's successful 2007 record New Magnetic Wonder, which sort of kicked off the reinvention of the collective and included the first logo on a record release since their dissolution.

Neutral Milk Hotel features the unique vocal stylings of Jeff Mangum, who grew up making music in Louisiana and turned it into this brilliant lo-fi project. The rest of the band almost always consists of who Mangum was shacking up with at the time and just jamming out making music. Mangum is Neutral Milk Hotel.

Sadly, the project broke up shortly after their second LP "Aeroplane" received major critical acclaim. Mangum said the album's concept was born of some intense, frantic dreams he had about a Jewish family during World War II. It's known for its pushing the envelope style of instrumentation and provocative lyrical elements.

What's happened to Mangum? He's worked with other projects a bit but has been cryptic about any chances of any more Neutral Milk Hotel releases. In 2005, the Orange Twin label was meant to turn out a rarities album for NMH but Mangum abruptly halted the project and that's that.

If you really like NMH, their original demo tapes are easily accessible thanks to the internets and are the coolest because they feature the band just dancing about with melodies and tape experimentation, as well as interesting question-answer games about digestion machines from Mangum. One of these original demos, known as both tracks "Synthetic Flying Machines" and "Up and Over" later became "The King of Carrot Flowers Part 3" on the Aeroplane record.

Our track of the day is "Holland, 1945" because you can just feel Mangum's texture. I've played this song on several occasions to those not in the know about Neutral Milk Hotel and they were all like "huh?" until the meat of the tune just really wound up and then they were like "oh shit. yes. now I see." So now you will see. Unless Mangum has already shown you. In that case, it will be a nice 3 minutes and some coin trip down Milk lane. This is in honor of the dance off...

(Random fact about NMH? Sort of? Win Butler of Arcade Fire has said in numerous interviews this band was the reason he signed to Merge Records, which put out the two NMH full lengths. Hurrah!)

Enjoy!
[Neutral Milk Hotel - Holland, 1945.]
Bonuses!
[Watch Jeff Mangum perform "Holland, 1945" live at the Whatt Club in Athens, Georgia in 1997.]
[This is awesome of Neutral Milk Hotel doing "Worms" and then "King of Carrot Flowers Parts 2 and 3" here. From 1998.]

...Just one day to stuff your face with 2007's musical fruitcake.

This is the last reminder Pulp and Circumstance will make regarding wee little 2007 blog contest. Loads of you have already sent in your offerings, and let me tell you those of you slackers who have yet to do it, you have a force to be reckoned with. They've created the gold star standard in delivery, people, so watch out.

If you don't remember what the heck you're supposed to do or missed it the first billion times it was mentioned, clicky this.

Entries will be accepted anytime up to Tuesday at midnight. So! Don't forget, tomorrow.is.absolutely.your.last.day.

Email your picks to wolf.jenna@gmail.com


To get you into pumped up mix mode there's nothing better than a bit o' Christmas with a splash o' Swedish pop!
[Acid House Kings - Christmas.]

Sweet Kiwi Treats....Installment Two: Liam Finn!

This is the second installment from our great Jessica Mim George, who currently resides in Auckland, New Zealand and is constantly infiltrating the indie music scene down theres to juice its happenings for all the readers of Pulp and Circumstance.

If you missed installment one, then definitely go here and read.

Liam Finn
If you haven’t heard of Liam Finn yet, you are in for a beautiful treasure of a musician, and if you have, well, then I’m sure you are basking in his golden aura. And when I say golden, I mean golden. Everything he seems to touch is musical gold. I picked up his album when it first came out here in New Zealand in July, and it’s been receiving regular spins on my iTunes.

Liam comes from Kiwi music royalty; his father is Neil Finn of Crowded House and Split Enz fame. He’s spent many years as the front man for Betchadupa, a band that’s played with Queens of the Stone Age and Pearl Jam and has received international critical acclaim. Growing up with a musician father clearly had an affect on Liam’s skill, as he appears to be able to play most anything, and this was quite evident when I was fortunate enough to see him play at The San Francisco Bathhouse in Wellington.

I had heard rumours of his musical feats onstage, and here I was about to witness them. With a looping effects pedal and help from fellow musician and rock heiress Eliza-Jane Barnes, Liam was able to run around the stage, creating layer upon layer of musical beauty. Seconds after playing a riff on the guitar, he was maniacally banging on the drums or jumping around the stage, playing a guitar solo. His music moved around me in thick swirls of smoke and I was engulfed, taken into his warm musical embrace.

Clearly I’m hooked, and I feel privileged to have been at his show because once he makes it big as a solo artist, he will be big, and it may be a bit harder to feel the intimacy of a smallish club when surrounded by fans in a giant stadium. I’ve picked, “Second Chance,” the first single off his album, I’ll Be Lightning, for your listening pleasure.

Go out and pick up I’ll Be Lightning. Not only is it a fine album, but the CD sleeve is printed on 100% post-consumer recycled chipboard complete with soy-based inks and a biodegradable CD wrap! Eco friendly Liam: my friend and yours.

Frosted Delight!
[Liam Finn - Second Chance.]
Extra Frosted Delight!
[Watch the video fro Second Chance here.]

Filed by Jessica Mimsie George, 12/9/2007

The Weight Has Been Lifted from Levon Helm.

The brilliant drummer and vocalist for a band so important, it was called The Band, got his voice back.

And apparently he handled the bucking of the musical bronco over the past few decades, never losing his grip on the saddle because he's dropped a brand new folk record Dirt Farmer this fall, which just received a Grammy nod in the traditional folk cat and features his daughter Amy and longtime Bob Dylan wingman Larry Campbell. This is his first solo record since 1982.

Pulp and Circumstance is reserving all claps today for Michael Levon Helm. Listening to The Band makes us want to go hole up in some Woodstock, New York shack and just play records and acoustic guitar all day long and make pancakes by night.

In honor? Enjoy!

[Listen to The Band do "The Weight" which those traditional country vocals of Levon Helm at Woodstock, 1969. I wish I were alive...and there.]

[Watch The Band do "The Night They Drove Old Dixie Down" here. Live. 1976.]

[Check Levon Helm talking drums and drumming, banging that cowbell, and how to use electric tape on your kit.]

It's called the Track of the Day: Cattle and Cane.

And the track of the day is...

The Go-Betweens - Cattle and Cane (off 1983's Before Hollywood)

It's quite gray to start today so I've chosen to begin the day with some angsty, angular lyrical trips of the brilliant Grant McLennan, one half The Go-Betweens.

The Go-Betweens came to fruition in the late 1970s by Brisbane boys Grant McLennan and the aforementioned Forster, before being joined by female drummer Lissa Ross, who lasted but a year when Tim Mustapha was grafted in, only to be replaced yet again a year later by Lindy Morrison, who managed to stick with the an almost whopping 10 years. Robert Vickers kept the bass beat for them for most of that time until... OK! Too many line-up changes for The Go-Betweens and Pulp and Circumstance hadn't even got to their reformation in early 2000, which produced that pretty excellent record Oceans Apart (2005, LOMAX/ EMI).

What gets me most about this band, which began writing some of their best tunes in the late 1970s (track "Karen" was one of their first singles, which has been blogged about in this forum thanks to the fact Karen is a rockin' sexy librarian) and took the pop sensibility of a lot previous music while scrambling it up, roughing it up a la influences like The Velvet Underground, while staying balanced on that new wave. Pulp and Circumstance certifiable goodness!

If you like Wire, or Television, you'll probably dig the Go-Betweens. Or if you're a Talking Heads fan, then you've most likely waded your way through the Betweens back catalog a few thousand times. Sadly, Grant McLarren died last year in his sleep.

Our track of the day "Cattle and Cane" is featured on the band's second record Before Hollywood, which was released in 1983 by the brilliant Rough Trade Records. I know, I know, I know, what all you Go-Betweens devotees are saying! "Ugh, she picked the MOST well-known song by this band..."

Well, yeah, I did. Because is f**king good. Some of their best work. Don't worry, we'll dig something out of the back catalog in no time.

Enjoy!
[The Go-Betweens - Cattle and Cane.]

It's called the Track of the Day: 2000007!

And the track of the day is...

Modeselektor feat. TTC - 2000007 (off 2007 record Happy Birthday!)

It's Friday! End of the week! And while that means Jenna is chained to her dining table finishing up papers galore, it means partying for most people and what better way to kick it off than to bring you the best in dancehall, grime, electro, and techno--and in the same little musical space.

Pretty brilliant right? And who is behind the magic? For those of you who don't already know, it's Gernot Bronsert and Sebastian Szary, who are pushing the techno-driven world of their homespace in Berlin to new and innovative places. Bronsert and Szary, who came of age in pre-unification East Berlin, had little in the way of pop culture exposure or Public Enemy not beilieving the hype, but have since then managed to bring the best blends of hip-hop, techno, and grime to anyone willing to gobble it up.

Modeselektor first burst onto the scene just 2 years back, with 2005 debut record Hello Mom! made famous by that partied out monkey-face on the album sleeve. Since then, they've built up an impressive collection of collaborations from everyone like Otto Von Schirach, dub vocalist Paul St. Hilaire (a Pulp and Circumstance favorite!), and TTC--a French rap group featured on our Track of the Day.

The coolest thing? They make most of their sounds from equipment they built themselves with all this techy, computerized geeky built-up software and special patches friends of their manage to create. Pretty remarkable. I really like how Bronsert once bought a MiniMoog all beatup and fucked, and still managed to make some brilliant music on it.

I hear their live shows are something quite savory, with immense visuals. Unlucky for Pulp and Circumstance, we've never been graced with a live gig presence from these Berlin boys.

How did we get into Modeselektor you ask? We heard the track "The Rapanthem" off 2005's Hello Mom! at a party. The tune features a rant from the film 24 Hour Party People, and as soon as we heard this little bit, we fell in love. The rest is history.

Our track of the day is off brand new (well not brand brand brand new) record, 2007's Happy Birthday!, which was released stateside on my birthday. How dope is that????

Tune "2000007" just has this sensible beat and the mixing of TTC is brilliant! It carries the tune and it's meant to be listened to on a Friday. Other artists who collaborated with Modeselektor on the new record? Radiohead (Thom Yorke is a Mode-devotee) and Maximo Park, never mind Otto.

So enjoy! Happy Friday everyone! Here's to hoping we get to see a lives gig before we die!
[Modeselektor feat. TTC - 2000007.]

Bonuses! Why yes!
[Modeselektor works 24 Hour Party People on track "The Rapanthem" off 2005 record Hello Mom!]

C'mon People!

Not to be an insane pest, but we want ALL of our readers to take part in wee little holiday mix making contest. Remember! Just a few days left to email me your Top Songs of 2007 and Best Holiday Songs.

There are prizes people, so get working! And do it for us so we can keep bringing you amazing posts (and promotions! free goodies! music!) in the New Year. We haven't heard from enough of you...

All entries MUST be in by December 10, anytime in that day. Email your lists to wolf.jenna@gmail.com and the winner will be unveiled in this very space.

What are you waiting for?

To get you in the spirit?
[The Kinks - Father Christmas.]

It's called the Track of the Day: Prickly Thorn But Sweetly Worn.

The Track of the Day, drum roll please...

The White Stripes - Prickly Thorn But Sweetly Worn (off 2007's Icky Thump)

Apparently its Jack White and the White Stripes Immersion Day at Pulp and Circumstance. After hearing "Jolene (live)" and posting about the beauty that is the man behind the band, we decided to flip on the latest release from The White Stripes, 2007 record Icky Thump, and listen, listen, listen.

The track "Prickly Thorn But Sweetly Worn" is an homage to Scottish ancestry and the brilliance of incorporating bagpipes into rock tunes. It may be the best tune of the entire record because the melody is so catchy and Jack White really can howl it out. Or whatever it is he's grasping at vocally.

The greatest thing about this record? We see the White Stripes move away from raw emotion to the more creative-driven tunes as a representation of an entire concept. While certainly not produced and recorded in the same vein as critically-acclaimed 2003 record Elephant, it certainly solidifies this band among the truest of 21st century musical innovators.


Enjoy!
[The White Stripes - Prickly Thorn But Sweetly Worn.]
Bonus! Why not?
[Watch Jack "show Meg his Tesla Coil" in the brilliant Jim Jarmusch film Coffee and Cigarettes here.]

I'm in the right place, wrong time? That's how I feel every day...

The latest edition of My Top Five is available for download here and it's all about "Songs with Names in them". Among a sea of other commenters who picked similarly, The White Stripes cover of Dolly Parton's "Jolene" made the cut to many many hurrahs (thanks Tom for being Democratic).

But it got us thinking about the cover and Jack White in general. We've failed to mention much of the man behind the White Stripes in this forum, and we feel this is the perfect opportunity to tell you that Jack White is one of the most influential musicians on Pulp and Circumstance's obsession with the blues, the traditional country of Townes Van Zandt or Hank Williams, Loretta Lynn and how artists today use those influences to create new sounds.

Producers have said, "There is an authenticity about everything Jack does. I don't know many people under thirty who have done the research Jack has done -- and can do a credible Blind Willie McTell cover."

Jack White has oft been labeled a "sham", that his blues-inspired struts are nothing more than a "show"...until all those reviewers sat down with the man and talked music before prostrating on the floor in homage after going to a gig.

While we still haven't entirely absorbed the Stripes latest release (2007's Icky Thump) and it's been a whopping 6-plus months since it fell into our hands, Pulp and Circumstance will eventually find a place for this record in our autobiographical landscape of obsessions once we finish savoring and digesting its contents.

Still, the reason for this post is because of the brilliant cover tune "Jolene." We must make a distinction at Pulp and Circumstance: Despite our love for many of the other artists who have covered this thrilling Dolly Parton tune, there is one reason why we pick The White Stripes to win this cover to cover battle: Under Blackpool Lights.

In 2004, the White Stripes did a thrilling two-nights gig under Blackpool Lights at the Empress Ballroom in Blackpool, England and unveiled the absolute BEST version of this cover they've done to date. And that is why it's so brilliant. This particular live version will just make your toes curl; Jack White is so inspired and emoting like I've quite never seen from him, it's like he's Janis Joplin. Really.

And two years back, a sort of lukewarm Jack White fan and I saw him play with his side-project The Raconteurs at Lollapalooza Day 2 and immediately after the gig was over and his guitar battles with Brenden Benson shelved for the weekend, my friend turned to me and said "Holy shit. I don't have to see anymore. We can go home now. Best gig on the weekend."

So, let us know what you think. Perhaps its the power of Blackpool Lights?

Enjoy!
[Watch The White Stripes and Jack White really knock the socks off the crowd at BlackPool Lights with their rendition of Dolly Parton's "Jolene" here.]
[Now scoop that same version up and listen, listen, listen. It's available on the BlackPool Deluxe Live record, 2004, which is also available as film.]
[Read about Jack White and the blues here.]

Furar? (If that's how you say "boring" in Portugese!)

What does everyone think of that little Bonde do Role EP Marina Gasolina, which took aforementioned track and plopped it on a new, short record with a few remixes and the like?

All that happened to "Marina Gasolina" is a chop of the 30 seconds of the otherwise thumping homage to early break beating hip hop and they basically call that a remix? Come on.

They seem to be milking this. Plus, while I adore some serious technology-driven blipping and bleeping, one of the best things about Bonde do Role was their ability to take that baile funk and mesh it up with some serious metal urging me to slay the dragon whenever I listen to their debut record With Lasers (Domino, 2007). But is that used to make a stab at metalheads or what?

About the brightest spot in the otherwise underwhelming quick record is that tune "Miami Beach" for its pop culture obsession with a shoutout to Don Johnson but the rapping is quite unbearable in the cheez factor. I can't handle it, so that song with be cached to the back of my record rack and never unearthed again... I think.

Though we're not completely turning our head at the minimalist effect track "Cagado" exudes. But it's still pretty rough listening despite the impressive breaks.

So, I say this is a complete waste of time from an otherwise impressive band, which is pushing the indie music world's oft mundane guitar rock sound into a grand new direction. But who told them this little EP was a grand idea (we saw some of these songs float about as b-sides to 7-inchers for "Office Boy")?

Anyone? Anyone? Does anyone love it? Hate it? Give us at Pulp and Circumstance feedback.

Figure for yourself! Enjoy or not Enjoy?
[Bonde do Role - Cagado.][Bonde do Role - Marina Gasolina.]

It's the blog! Reason # 1,456,788 why we adore James Ford.

Pictured Above: James Ford, one half Simian Mobile Disco and producer extraordinaire, with Pulp and Circumstance Blogging Nut-so and SMD devotee, Jenna!

Reason #1,456,788 to love James Ford? This interview Pitchfork Media had with the d.j., producer, and electronic musician on their last go-round stateside, in which Pulp and Circumstance was so grateful to have seen and review live.

Pitchfork asked Mr. Ford how he felt about the blog-o-sphere's role on music (which he's mentioned before) and of course he had nothing but praise for the sharing of discussion on the latest and greatest in under the radar music and forums like ours that say "Listen to this!".

"I'm pretty keen on the blog stuff. I'm part of a few forums and I do check the blogs pretty regularly and read obviously things like Pitchfork and that kind of thing and I think they're really important. I think they're equally as important as magazines really. Probably going forward more so I think, more than any time I can remember, there's a massive amount of music out there and technology has made it that it's really easy to make music so there's loads of shit out there--some of it's amazing, and some of it's fucking awful. Probably most of it is awful. I think you always need those people who are going to filter through stuff for you. For me, I get sent way more tunes than I could ever really go through," Ford told Pitchfork.

He goes on to say he thinks "Simian Mobile Disco thing has been helped along the way by blogs. I know most of our stuff, even before we put out the album, was probably out there to a certain extent. For us being able to go and play a gig in Norway on a Tuesday night in a small town: Bergen--I know it's got quite an electronic history--but we turned up expecting it to be really random. Honestly, it was before "It's the Beat" had even come out on promo or anything and they already knew the words and went crazy to it. That's great that it can get out there in that way and people who actually want to get into and care about it can get into your music. It's really powerful."

And it seems all our blogging about the brilliance behind Simian Mobile Disco is a thing the men themselves actually appreciate! Hurrah!

To read the rest of the amazing interview with James, in which he discusses the Klaxons, Alex Turner's side project, the brilliance behind the "Hustler" music video, touring like mad and why he doesn't want SMD to turn into Simian, clicky this.

And of course, listen to Pulp and Circumstance's favorite electronic outfit save for White Noise and Delia Derbyshire! Enjoy!

[Simian Mobile Disco - Pulse.][Simian Mobile Disco - Clicktrax.]

It's called the Track of the Day: A Spoonful Weighs a Ton.

And the track of the day is....

Flaming Lips - A Spoonful Weighs a Ton (off 1999's Soft Bulletin)

I have loads of baking to do for my cataloging section tonight, so I thought it would be fitting to bring you a track of the day dealing with spoonfuls, since I'll be spooning out sugar, salt, and flour for the better half of the day.

The song "A Spoonful Weighs a Ton" is one of my favorite Lips songs because it's got some amazingly odd effects, layered instrumentals, and Wayne Coyne can hit the high note pretty well. Plus, we're not even sure what it all means, pretty much a staple in any Flaming Lips catalog of bizarrely titled songs.

Some of my best memories happened at a Flaming Lips gig, when they played Lollapalooza two summers ago in Chicago. Wayne Coyne is such a showman, and there's nothing better than seeing him being pumped up inside a gigantic plastic ball filled with funfetti before his band mates roll him out over the screaming crowd to bounce him around. It's pretty amazing, and if you're not even a Lips fan, you should just go to one of their gigs because you have no idea what you'll get. Girls dancing around in alien costumes and funfetti and smoke guns. At Lollapalooza, Coyne even had a cell phone glued to his guitar for no apparent reason.

And that's why we are so intrigued by this band. Leave it to some dudes from Oklahoma. The band was founded in 1983 (the year of my birth!) and had a major hit in tune "She Don't Use Jelly", which saw them appear as the guest band at the Peach Pit After Dark on teen soap 90210. Pretty hilarious.

"A Spoonful Weighs a Ton" appears on their ninth studio album, 1999's Soft Bulletin, which saw the band move into more melody-driven music, which brought mass appeal and easier listening than most of their previous releases. They've managed to put out a staggering 11 albums despite their often strange arrangements and out there tunes. While "A Spoonful Weighs a Ton" does not appear on my favorite Lips album (it happens to be 2002's Yoshimi Battles The Pink Robots) this album is certainly worth checking out. Especially if you are fans of space rock and psychedelic pop because this band certainly has dug out a place for itself in these genres.

Enjoy!
[The Flaming Lips - A Spoonful Weighs a Ton.]
Extra!
[Mary Poppins - A Spoonful of Sugar Makes the Medicine Go Down. Just because!]

He rose. And is everywhere.

This is Nick Drake, British folk singer-songwriter. Has anyone picked up the latest three-disc box set Fruit Tree, which saw its re-release stateside yesterday?

Pulp and Circumstance is dying to get its hands on a copy, which includes all three lonely, sparse Drake lps ( 1969's Five Leaves Left, 1970's Bryter Layter, and 1972's Pink Moon ; all out on Island Records) but nary any of the bonus rarities material from the beginnings of a fourth album the folk master was creating at the time of his overdose in 1974. Instead, we've got a documentary.

Drake wasn't all that popular during his own lifetime, selling a measly 5,000 copies each. But I blame the rise on the desolate, emo-esque culture of the music obsessed, who brought this man into his own, thirty years on. His songs of depression, angst, loss in love, seemed to catch today's youth and alas, all three of the aforementioned records have seen re-released remasters pleasure in recent years.

Fruit Tree, which was released in 1979 by a good friend who insisted his music must never go out of print, was one of the first back catalogue retrospectives on a contemporary artist at that time. It included the outtakes and reworkings of many Drake songs on the fourth disc, Time of No Reply.

Pulp and Circumstance has never been able to find a copy of this original retrospective in any record stores around these parts.

Included in the newest edition of the box set are the three Drake released remastered and a 48-minute documentary on Drake called A Skin Too Few, which features interviews with his parents and sister. But noticeably absent are the five rare songs from Time of No Reply and that bonus tune released on 2004 compilation Made to Love Magic.

What gives?? Does anyone know why they're left off? Isn't that one of the best parts of a box set? The rarities?

While most of these tunes have been floating around for quite some time, to plunk down some serious coin for a box set that doesn't include some of Drake's finest work is quite a mistake. But I suppose if you already own Made to Love Magic, why have to purchase again? But it's a set people!

Pulp and Circumstance can recall buying many a repeat album because we came across an original pressing, or an original release on c.d. which is worth a bit and completely exciting to get your hands on. Or, the album sees re-release treatment with loads of extras. So, if you're the type to buy up a box set, particularly a Nick Drake box set, you're more than likely musically obsessed and aren't going to say "...well, technically, I already own that one..."

Yeah, I'm sure you probably already own Drake's Five Leaves Left, Bryter Later, and Pink Moon in single disc format.

Does anyone disagree? Nick Drake fans: would you buy it anyways? Apparently all the lps are housed in mini-vinyl gatefold packing. Too.Cool. Pulp and Circumstance always gets excited about packing.

Let us know if you've picked it up...we're hoping it comes as a Christmas Gifty!

In the meantime, Enjoy the brilliance of Nick Drake!
[Nick Drake - Black Mountain Blues (bonus materials! Drake at his best.).][Nick Drake - Pink Moon.][Nick Drake - One of These Things First.][Nick Drake - Way to Blue.][Nick Drake - Place to Be.][Nick Drake - Day is Done.]

Artist to Wach: Sweet Track.

Pulp and Circumstance would like to introduce you to the latest, greatest in delectable DIY music.

This is our good friend Mike Swidrak's version of our most constant obsession of late: bedroom music projects. Everyone give it up for Sweet Track (did we mention how brilliant its name is? Swidrak....Sweet Track....Swidrak...Sweet Track)!

You may recall we've blogged before about his other band The Freeways as well as his radio program on RadioYou Boston!, and if you liked his music taste, you're sure to like him not just delivering you music, but delivering you his music.

The sad thing is, Mike just informed us of this little gem, which has been in the works for quite some time. He posted a few songs to his myspace page a couple months back, but said he went through an "uninspired period" before creating the latest two masterpieces in traxx's "Frustrated Forecaster" and "The Bitter Aftermath".

We're wondering how he found the time to record the instrumentals, write the lyrics, and lay it all out between his cardy-wearing library job tagging books with RFID, battling the underworld in second life (he'll kill me for this one; no he does not actually have an avatar), and writing sophisticated papers on medieval warfare (can you believe he's taking this class just for enrichment?).

The aforementioned list are just a few of the reasons you should dig this kid, never mind the fact the music is amazing or that he's actually tried to drink brandy to get drunk.

We asked Mr. Mike to tell us what's inspiring him of late in the "tape hiss with a melody experimental pop" musical genre and where he hopes the project will go, which for now boasts just him in the "members only" jacket.

"I'm more inspired lately by rhythms and dance music (obviously) but I still like my lo-fi approach..," he told us. "But I've again immersed myself in tons of indie and college pop so I'm trying to have it both ways...we'll see how that works out."

And of course, as should be, he expects "Rolling Stone to call any day now..."

Most interesting fact about Mike Swidrak? Hopes to one day be a mad house-spouse and have affairs with powerful female business tycoons.

So, nod over to his myspace page, check out the newest tunes, and fall in love with Sweet Track. Then tell him to quit his day job at the Harvard Physics library to pursue this little gem. Or just put out a record in the truest of DIY pleasure for the readers of Pulp and Circumstance.

[Listen to Sweet Track. NOW.]

Don't Forget! It's all in the Fruit Cake.

Readers of Pulp and Circumstance! Or anyone out there! Don't forget! The deadline for our Holiday Mixes contest is fast approaching.

You have just one week to get in your entries and email them to wolf.jenna@gmail.com. So c'mon people. December 10. Don't forget the date.

For all the details, and prizes, clicky this.

You better be joining...

It's called the track of the day: Une Annee Sans Lumiere.

And the track of the day is....

Arcade Fire - Une Annee Sans Lumiere (2005, Funeral)

It's still snowing in Boston, and icy everywhere, making it almost impossible to walk the streets without looking like you've got a gimp or just quite constipated. It's dark, it's windy, and well, it's officially winter in Boston. For some reason, all of my memories of listening to Arcade Fire in pure concentration are in winter, particularly driving around with an old friend and just blasting "Une Annee Sans Lumiere" before declaring it one of the most beautiful songs written in the last five years.

The breakdown, too, is especially amazing for deep concentrated music listening and a few air drum moments on the dash. It's a great song for today because we've hit the drears of Boston.

Most Pulp and Circumstance readers probably know everything there is to know about this Montreal, Canadian collective which uses some pretty anthemic instrumentals and fills out their sound brilliantly with french horns and violins--a mark that indie bands are really bringing it on thick with their ambitious song making.

The track of the day, "Une Annee Sans Lumiere", comes off the 2004 debut album Funeral (Merge), which catapulted them into critical acclaim. Their latest release, 2007's Neon Bible, has done much of the same but doesn't move me the way Funeral did on its first release--perhaps because the unique blend of French and English as well as Win Butler's strange, but haunting, vocal stylings are most apparent on tracks from Funeral. This album even has a song "Neighborhood #3 (Power Out)", which deals entirely with the band's experience in the North American Ice Storm in 1998. So this really is a fitting album to head to on a day like today...

If you haven't seen them live, you must because you never know what sort of line-up you'll get on any given night, tour. You may see horns, violins,, and 10 people on stage.

So, enjoy the track of the day and tell the sky to stop snowing! We get it already.
[Arcade Fire - Une Annee Sans Lumiere.]

There are tons of rules to making a mix tape. Installment Three.

So as you know, Pulp and Circumstance has a little reoccurring installment in which we unearth the Mix Tape for your listened pleasure throwback style. It reminds me of when my father tried convincing my mum to save the 8-track machine because "everything comes back".
"The 8-track wasn't even popular when it came out," my mum snarled.

And she was right. It never came back. And I bet she wishes my father would have stuck to his mantra of "everything comes back" when he chucked out her favorite shoes in a mass clean one year.

So, if you missed Installment One or Two, check them out here and here respectively.

The tape we are unearthing in the latest installment was a favorite sophomore year of high school. Yes kittens, for me, that was the 1998-1999 school year and the mix was one of the best in cheestastic fun...EVER. I used to drive around with friends who had licenses (Shock! I didn't get mine for a full two years after) and we'd quite dance about to these tunes with absolutely no where to go. And you should, too.

Simply titled "The Tape", we bring it to you in all its glory. Enjoy!
Side A:
[The Vapors - Turning Japanese.][The Divinyls - I Touch Myself.][AC/DC - TNT.][The B-52s - Private Idaho.][The Crystals - Then He Kissed Me.]
Side B:
[Bow Wow Wow - I Want Candy.][Dire Straits - Romeo and Juliet.][Peter Gabriel - In Your Eyes.][Wham! - Young Guns.][Adolescents - Amoeba.]

Finger Lickin Good Music!

So....not only is chicken a delicious food choice, but there have been innumerable traxx written about this Col. Clucker. Alas, we decided we needed to do an "Ode to the Funky Chicken", one of the greatest dances to spawn some of the most inspired of cheeseball tunes.

There's nothing but Finger Lickin' Good Tracks here, so enjoy!
[John Cooper Clarke - Evidently Chicken Town.][Ronnie Spector - Tandoori Chicken.][Von Sudenfed - Chicken Yaiamas.][Telex - Temporary Chicken (Dub Mix).][Sonic Youth - Major Label Chicken Feed.][Alter Ego - Chicken Shag.][Yo La Tengo - Flying Lesson (Hot Chicken #1).][Hasil Adkins - Chicken Shake.][Prince and Cam'Ron - Chicken Head Nikki.][Hasil Adkins - Chicken Walk.][King Herbert and the Knights with Jack Harden - Chicken Strut.[The Bees - Chicken Payback.][I'm from Barcelona - Chicken Pox.][Tiny Tim - The Chicken Dance.][Champion Jack Dupree - Chicken Baby.][Beastie Boys - Finger Lickin' Good.]

It's called the Track of the Day: Spiders in the Snow.

And the track of the day is...

Dismemberment Plan - Spiders in the Snow (1999, off Emergency & I)

This Washington-D.C. based band is no longer, but it doesn't mean we no longer listen. You may know this band just as D-Plan and you can't not love the fact they named themselves after a phrase spittled out by Ned Reyerson in the ridiculous but amazing Bill Murray film Groundhog Day.

But about the music! The indie rock band formed in 1993 and managed to produce a whole slew of lps and eps. But my favorite record was 1999's Emergency & I, which features our track of the day. Most of their songs display surrealistic storytelling and the distinct vocal stylings of Travis Morrison. The entire album is great start to finish, especially tracks "What Do You Want Me To Say", "You are Invited" and "The City".

What's more? The band bundled up all the tracks from their last two records, uploaded them to their website, and asked the fans to rework them. The result? 2003's record The People's History of Dismemberment Plan, which is a pretty cool project Pulp and Circumstance thinks you should check out. The band broke up later that same year, and the rest is history, which included two ridiculous sold out reunion shows this past April at the famed Black Cat Club in D.C. of which is pictured above.

And we pick this track today because Boston has been blanketed with its first real snow. But check out the rest of the aforementioned tracks. You won't be disappointed.

Enjoy!
[Dismemberment Plan - Spiders in the Snow.]

Can We Take Up Permanent Residence at Tiger City?

This is TigerCity and Pulp and Circumstance went out to review their (homecoming) gig at The Middle East Downstairs in Cambridge last night, which found the power pop disco funk outfit supporting fellow Brooklyn-ites Mobius Band.

And all P&C wants to do is talk support act Tiger City.

This band's energy did not wane in the 40 minutes onstage, unrolling their blend of disco house power pop smothered in cheez whiz, all while maintaining rock credibility with some serious precision on their instruments; bassist Joel and drummer Aynsley carried the beat to the back of the house, guitarist Aaron had the most fascinating windmills and a strict, jarring strumming style that became totally addictive to watch. But what amazed Pulp and Circumstance most was lead singer Bill's signature falsetto, which was remarkably spot-on and may stir up a serious rivalry with the master of all masters in this vocal styling: Frankie Vallie. Yet, what intrigued Pulp and Circumstance more was Bill's sultry lower range--used sparingly but orgasm inducing a la their opening track, which brilliantly wreaked of womanizing and the aforementioned.

This is the perfect mode to get the party started and the turquoise-pumped girls kicking up their heels under the disco balls that make The Middle East Downstairs one of the best places to hear music in this town. If only they installed a light up glass floor and handed out white leisure suits at the door...

The band really kicked it into overdrive on tunes "Are You Sensation", "Powerstripe" and "Other Girls" -- a sight to be seen because their sound translates so much better live, which allowed for bassist Joel to really flex his harmonizing muscle (bravos!). Vocals were clear, guitar riffs precise, bass lines sweaty hot, and drum beats smoking, strong, while still managing to playfully penetrate the crowd. And Aynsley sets up his cymbals about two feet above his head for high hits, a perfect addition to an almost perfect gig...

I could just imagine a mustachioed man with a members only jacket shuffling across the dance floor in Chevy Chase-esque white loafers to the smooth, buttery beats of TigerCity. The women swoon.

And it seems this band knows how to continue to extract the sugary pop from the pure cane. Rolling out new tune "Mallory" hit the highest note on the evening, ensuring this unsigned band is sure to get itself a record deal in no time.

One gripe? TigerCity should be playing a Saturday Night slot. Let the people grow...er, dance!

If you'd like to check out the band, their EP Pretend Not To Love is available for download at iTunes, or go sample their tracks at their myspace page.

File Under: TigerCity holds its own among a field of generic guitar rock bands infiltrating the indie scene these days and brings something completely new but similarly throw-back. If you like your music smooth and easy, this band is definitely for you. Pulp and Circumstance certifiable goodness!

Want more? Intrigued?
[Watch TigerCity play "Other Girls" live at The Mercury Lounge in NYC.]

Gigs up!

Don't forget! Pulp and Circumstance will be at the Middle East Downstairs tonight to review the Mobius Band gig, featuring support from Tiger City.

Mobius Band got a track of the day a few weeks back and this will be our first time checking them live. The Brooklyn-based electronic rock trio is out supporting their new record Heaven (Ghostly International Records) are getting some help from fellow Brooklyn-based outfit Tiger City.

The best thing? Both these bands have roots or done time in Massachusetts so hurrahs!

Pulp and Circumstance will be with 8 other people and you won't miss our goofy party. So join us! The relevant deets?

Mobius Band with Tiger City and Middle Distance Runner. The Middle East Downstairs, Cambridge. Gigs at 8 p.m., $12 at the door. 18-plus as usual kittens!

Enjoy a preview!

[Mobius Band - Tie a Tie.] [Tiger City - Solitary Man.][Middle Distance Runner - Naturally.]

Fell into this release...and then in the nettles.

The latest single from Sheffield's finest Arctic Monkeys is set to drop this Tuesday. It's "Teddy Picker" and Pulp and Circumstance is bringing you its b-side glory ahead of time. So you have no excuses not to pick this gem up--which will be available in the following formats:

CD: "Teddy Picker", "Bad Woman feat. Richard Hawley", "The Death Ramps", "Nettles"
7 Incher: "Teddy Picker", "Bad Woman feat. Richard Hawley"
10 Incher: "Teddy Picker", "Bad Woman feat. Richard Hawley, "The Death Ramps", "Nettles".

You can buy any format with deals on bundling here. Bundle away!

Need to be convinced?

"The Death Ramps" starts out as a meandering instrumental and turns into a strut of sorts with a solid, catchy guitar riff and a battle it seems between Jamie Cooke and Alex Turner before slowing back down and petering out. "Bad Woman" is a cover of the 1969 tune by Pat Farrell and The Believers which features guest vocals from a one Richard Hawley. And "Nettles" is much of what Arctic Monkeys do best: quick, curt guitar riffs over much of the same type of vocals. Alex Turner flexes his spitting abilities before moving into speech driven moments immediately followed by his full-on signature croon--all in a curt 1 minute and 45 seconds. It's a perfect blend of Turner brew if you ask Pulp and Circumstance. It's nice to see B-sides that work the band's magic in new waves and opens and diversifies their catalog. Brilliant!

Pulp and Circumstance declares the latest single from The Arctic Monkeys certifiable goodness. It drops stateside on Tuesday, December 3. And if you had hoped to get your hands on the very very limited edition white vinyl 7-incher featuring both "The Death Ramps" and "Nettles" under the fake band name The Death Ramps, forget about it! Those went like sweet sausages after a night of drinking. Poof!

Of course! We're bringing you the Arctic Monkeys b-sides before the release drops because this is Pulp and Circumstance. Enjoy! Tell us what you think.
[Arctic Monkeys - Bad Woman feat. Richard Hawley.][Arctic Monkeys - Death Ramps.][Arctic Monkeys - Nettles.]

"Pound your Artois and let's get out of here!"

Pictured Above: Jenna snapped dancing to "Peacebone" this weekend. It was a jig-jive hair-swinging hybrid. It's call the Jig-Jive-Hair Swinging Hybrid Rager and all the kids are doing it.

Titled: "Pound Your Artois and Let's Get Out of Here!"

...So said Kristen last night when she decided the drinking establishment we were at was tired. And thus, the fun began. Preface: I don't usually go out without a gaggle of guy-mates in tow and last night was one of my first exercises in "man-whore operations" which found every conversation between me and Idiot X. come to a screeching halt.

The one diamond in an otherwise un-sparkly musical evening came when Eric Prydz' remix of "Valerie" by Steve Winwood was switched on. Apparently Kristen adores this track as much as I do (but the original is better) and ditched me to work the dance floor with a total meat-head son who so brilliantly delivered this gem at the end of the go-round, "The pleasure was all yours."

Where do these men get off? Oh right, they don't.

While Kristen flirted with unsavory individuals like the one mentioned, I flexed my musical muscle to try and find the best places in the city to hear minimalist electronic music, break beats, and dubstep. I guess those aren't really interesting or practical conversation starters. As a result of my intentions, the following conversations actually happened and still haunt me today:

Guy #1: "Wanna dance?"
Jenna Response #1: (cringing) "What is this song?" [Insert the following lyrics: "To the window! To the wall! To the sweat drip from my balls."
Guy #1: "It's...Get Low."
Jenna Response: "Is there any good place to hear break beats or dubstep around here?"
Guy #1: "Huh?"
Jenna Response: "You know. Like d.j.'s using breaks from funk and jazz tracks to create hip-hop rhythms? Kurtis Blow... Kool DJ Herc? Or you know dub step, heavy bass instrumental?"
Guy # 1: "Umm...you like 50 Cent?"

Guy #2: "What are you ladies up to?"
Jenna Response #2: "Trying to find good places to hear electronic music in tiny little places. Minimalist stuff."
Guy #2: "I'm a d.j. You should hear my stuff."
Jenna Response: "Oh yeah? What do you like to play? I like d.j.s influenced by artists like Daniel Miller as the Normal or when he put out that record of mostly 60s pop classics turned new wave under the name Silicon Teens."
Guy #2: "Um....Pass the Courvoisier always gets people moving."

What's with trying to find decent d.j. gigs in the city? I guess everyone would rather spin 50 Cent and T.I. like it hadn't already gone out of style...

File Under: Note to self, don't try and ask men at bars where to hear good music. As the Animal Collective tune "Peacebone" so apty declares, "he don't understand intentions he just looks at your face." Throw me a peace-bone someone. Anyone?!

I suppose these are the breaks! So, in honor of it, enjoy!
[Animal Collective - Peacebone.][Kurtis Blow - The Breaks.][Mantronix - King of the Beats.][The Normal - Warm Leatherette.][Silicon Teens - Judy in Disguise.][Silicon Teens - Let's Dance.][Silicon Teens - Memphis, Tennessee.][Eric Prydz - Call On Me (Remix).]