Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook

24 February 2018

Truth or Fiction??? (but listen either way)

This whole plotline reminds me of the 1983 mystery/fantasy novel by American author George R. R. Martin. The Armageddon Rag.

The plot is something like this:

Frustrated former hippie novelist Sandy Blair becomes involved in the investigation of the brutal murder of rock promoter Jamie Lynch, whose heart had been torn from his body. Lynch, a despised rock promoter, had been found dead in a small town in Maine, the victim of a ritualistic murder.

Lynch had managed several bands, including the legendary rock group The Nazgûl (named for the evil Ringwraiths in Tolkien's The Lord of the Rings). He was found dead on the 10th anniversary of The Nazgûl's breakup, with his bloody body placed on top of the band's West Mesa, New Mexico concert poster; during that concert, Nazgûl lead singer Patrick Henry "Hobbit" Hobbins had been mysteriously murdered.

Lynch's high-profile death soon opens the door for a Nazgûl reunion tour, which slowly begins to eerily mirror the events of their original West Mesa tour. With Lynch out of the way & a disastrous act of arson threatening the remaining three members, The Nazgûl agree to go on a reunion tour, which is promoted by a rich man named Edan Morse.

The mysterious Morse may or may not had been a left-wing revolutionary in the 1970s, noted for his violent methods. Morse produces a young man who is a doppelganger for Hobbins, who Morse plans to make the lead singer of the reunited Nazgûl, despite the fact that the doppelganger's musical talents are subpar & he lacks any charisma. Interviewing the surviving members of the band while tracking down his old friends from the 1960s, Blair meditates on the meaning of the flower power generation as he crisscrosses the country. He eventually becomes the Nazgûl's press agent. He is soon swept up in the frenzy of their successful reunion tour & an oncoming supernatural convergence, whose nature he must uncover in order to solve the murders of Lynch & Hobbins. Blair comes to suspect that Morse wants to bring The Nazgûl together to perform an occult ritual that will unleash a dark supernatural power upon the world, an act of revenge against a world that has spurned the idealism of the late 1960s counterculture.


The Nazgûl...The Press release

This was one of several mysterious albums released in limited batches in Germany by the Pyramid label in the mid-70s. They were apparently sold mostly through art galleries & other unconventional retail sources. After 1974 the major labels were no longer interested in creative Krautrock, so Pyramid undertook keeping the spirit of the genre alive for another few years. The Pyramid artists & records were so unknown that when they started being reissued on CD, many people thought they were a hoax.

The Nazgûl were one of the high points, once one gets past their peculiar fixation with J.R.R. Tolkien's Lord of the Rings. Not only do the group & the track titles derive from the trilogy, but even the band members go by the names of Tolkien’s characters for their aliases. Fortunately their album, recorded in Cologne, Germany, in 1975 & 1976, has strikingly original music, just four long instrumentals of atmospheric, improvised space rock that use odd instrumentation to create sounds that are unlike much else. The tracks are all quite free-form & ambient, with lots of murky, shadowy noises to create something dark, often disturbing (in the vein of Lustmord) though predating him by a decade.

The Nazgûl - The Nazgûl, Mental Experience MENT016CD, 2018.
all decryption codes in comments

tracklist -

The Tower of Barad-Dûr
Shelob’s Lair
The Dead Marshes
Mount Doom

Hold it. Hit the brakes. Screech to a halt here, because exy commenter Michel writes:

     The Nazgûl are another of the "long-lost" (because never existent in the first place) Krautrock bands recorded by pseudonymous musos in the mid-90s who first leaked into the musicsphere on the 1996 CD compilations UNKNOWN DEUTSCHLAND. It's terrific music, but those wanting historical authenticity will have to suspend their disbelief & go along for the ride.

Then Mick wrote back:

     Fake!? I'm not so sure & I can't see how anyone can be. To counteract Michel's argument I found this:

"Pyramid was an obscure private label from Cologne in the mid-70s centered around recordings made chiefly at Dierks studio with Toby Robinson as engineer. Unbelievably obscure, it would be easy to doubt the authenticity of these, if it wasn't for Toby's involvement. I gather that the main-man behind the releases, however, was one Robin Page, a painter & sculptor friend of Toby's who also lived in Cologne. Apparently the releases were pressed up by a friend who had his own record press, they had home made covers, & were all in the region of 50 to 100 copies each. Mostly they were sold in art galleries & clubs or given away to friends, they never gained any proper retail or distribution. These releases proved that the spirit of the Krautrock underground was still alive & kicking in the mid-70s."

PYR 005 – Galactic Explorers – EPITAPH FOR VENUS (1974)
PYR 008 –
The Nazgûl – THE NAZGUL (1975/76)
PYR 009 – Cozmic Corridors – COZMIC CORRIDORS (1972/73)
PYR 0?? – Temple – TEMPLE (1975/76)
PYR 0?? – Pyramid – PYRAMID (1975)
PYR 015 – Golem – ORION AWAKES (1976)

to which Michel replied:

     Part of the pleasure of these fakes is the "Oh, but what if…?" factor. It would be so cool if these LPs had really existed. In the same way as it would be so cool if Kosmischer Laufer, an album purportedly made in support of the 1970s East German Olympic Team (but actually concocted very recently) were authentic. There is a terrific album called Impressionen '71 supposedly by a 1970s Krautrock outfit called Damenbart which is actually the work of the post-1980s avant-garde group H.N.A.S.  So the list goes on. Krautrock was a great genre but a finite number of records were made. Some people just can't resist adding to them. As for the Pyramid releases, they were recorded by musicians from the group Sundial, according to one industry insider. The man who had most to do with spinning the hoax, Toby Robinson, also went under the pseudonym "Genius P. Orridge", which shows he has a good sense of humor. Of course, as with any conspiracy theory, people can argue both sides forever, but in conclusion I would appeal to common sense: half a dozen groups, supposedly making records in editions of 100 copies or so each yet 40 years later, not ONE collector in the whole world owns an original copy of any of them? How likely is that?

Trepan following with:

     Agreed, anyone who knows German music from this era quickly recognizes how digital & anachronistic everything sounds on these "lost" Pyramid albums. Even the spelling "Cozmic" indicates a more recent provenance. Not saying these albums are entirely bad, but there are more clever post-Krautrock recreation albums out there. Damenbart's Impressionen '71 is one. It doesn't pretend to be anything other than a latter day tribute.

Here's what my research uncovered:

Over at What are some of the bigger musical "scams" of the recorded sound era? 

ΙΧΘΥΣ Blindness answered...

The Psi-Fi label:

     This label produced six "reissues" of albums by the supposedly long lost Pyramid label of Cologne, Germany. These releases are generally considered to be a hoax and it is widely believed that the albums were recorded in the mid 90s in the UK during the height of the Krautrock revival. The source for all of these recordings as well as the Unknown Deutschland compilations on Virgin is Toby Hrycek-Robinson, who had worked as an engineer in Dieter Dierks' studio.

Toby Hrycek-Robinson aka The Mad Twiddler aka Genius P. Orridge (really!) seemed to be the only thing in common between these albums by Golem, Temple,
The Nazgûl, Cozmic Corridors, Galactic Explorers and Pyramid. They're actually pretty cool overall, just obviously not from the 70s in most cases.

Over at Progarchives,  Progfan97402 wrote...

     ...the Psi-Fi label, with a controversial story behind it, as well as the label it was supposedly originally on: Pyramid, and this applies to all the other titles issued on CD by Psi-Fi. Were these titles really recorded from 1972 to 1976 or 1990s UK hoaxes? Well, at least three proven musicians have appeared on these release: Reinhold Karwatsky of Galactic Explorers was in Dzyan, Zeus B. Held of Temple was on several Birth Control albums, and Hans-Jurgen Putz of Cozmic Corridors was in Mythos for the album Dreamlab. A couple titles certainly don't sound convincing, particularly Golem's Orion Awakes with its all too clean sound and '90s sounding grunge guitars, but it could have been doctored with, and maybe even rerecorded in various places.

The Nazgûl takes on that very similar approach: forsaking any traditional song structure or melody and going for sinister soundscapes instead. Unlike Zeit, it's just a single album, so it's easier to listen to in one go. I frankly don't care if it's a hoax or not, because I was really blown away by this. If real, it's a shock that anyone was still doing this sort of stuff in 1976, as the Krautrock scene had basically moved on to electronic or prog (you won't mistake Stratosfear for Zeit, or Pyrogany X for Yeti, for example). This has much more in common with the Krautrock of 1972, and this could have been easily at home on Ohr. If it is a hoax, they really captured that spirit of 1972-era Krautrock very well, and because of that it's no wonder I enjoy it so much. This is truly a treasure worth looking for. Sure the Psi-Fi label went under quickly (those hoax rumors certainly damaged the label's reputation, and that's why it faded so quickly), but worth seeking out!

one knucklehead gushes...

    Couldn't believe Unknown Deutschland Volume 1 was even still available as it's a top choice collection of rare, I mean...sub-underground killer tracks by some of the most obscure krautrock bands ever. What exactly is krautrock? One may ask. Good question. Krautrock is like German space rock or what many call progressive or simply prog. Tangerine Dream and Can are probably the best examples that I can think of that are known or at LEAST heard of by the average music fan. The tracks here that I couldn't get enough of are Golem with "Orion Awakes", Temple, with two cuts, "Leaves Are Falling" and "Black Light" (this sounds an awful lot like some of the music in the movie Midnight Express) and the eighteen-minute Galactic Explorers epic "Lunarscape". Most of these recordings have been put out by a UK label, Psi-Fi. Well worth hunting down a copy. Plus there's also a volume 2 and 3 available.

So I’ll give you those first, then a taste of Psi-Fi...

Virgin CDOVD 468, 1996.


Orion Awakes - Golem
Leaves are Falling
Black Light - Temple
Dark Path
Niemand Versteht  - Cozmic Corridors
Interstellar Shortwave - The Astral Army
Lunarscape - Galactic Explorers
Ganz Wie Du Willst - Fuerrote

Virgin CDOVD 472, 1996.


The Message - Spirulina
Innerst - Ten to Zen
Age of Ages - Temple
The Tower of Barad-Dûr -  The Nazgûl
Godhead Dance - Golem
The Summit - Cozmic Corridors

Virgin CDOVD 473, 1996.


Feuerwerk - Neil Andersen
Ethereal Jazz - Galactic Explorers
Stellar Launch - Golem
The Dead Marshes -  The Nazgûl
No God / Astaroth - Baal
Schaudernacht - Chronos
Ship on Fire - Temple

All the bands that appear on the three volumes of The Krautrock Archives but not given their own individual releases on Psi-Fi are collected on a compilation release entitled:

Various - Cologne Curiosities: The Unknown Krautrock Underground, 1972​-​1976 2xCD
Mental Experience MENT005, 2016

Side A -
The Astral Army  - Interstellar Shortwave 4:32
Spirulina - The Message 10:24

Side B -
Chronos - Schaudernacht 6:52
Neil Andersen - Feuerwerk 7:17

Side C -
Baal - No God / Astaroth 6:40
Ten To Zen - Innerst 10:16

Side D –
Fuerrote Ganz Wie Du Willst 14:01

I have not posted this release as all the tracks can be harvested from the above three volumes, but if someone really needs it, I have it, so let me know...

Now to the remaining Psi-Fi CDs -

Cozmic Corridors - Cozmic Corridors, Psi-Fi PSCD0001, 1996.

tracklist -

The Summit
Dark Path
Niemand Versteht

tracklist -

Ethereal Jazz
Venus Rising

Golem - Orion Awakes, Psi-Fi PSCD0003, 1996.

tracklist -

Orion Awakes
Stella Launch
Godhead Dance
Jupiter & Beyond
   a. Signal
   b. Noise
   c. Rebirth
The Returning

Pyramid is (big surprise) the mystery band of the Pyramid label. Their eponymous single track album would seem to be what Toby Robinson called an attempt at a Cosmic Jokers type album. "Dawn Defender" is quite obviously mixed from many different sessions. It runs a wide range of styles, from trippy Ash Ra Tempel with echo guitars & scintillating synthesizers through to headfirst plunges into Hawkwind overdrive territory. The feel is much like what Porcupine Tree or Electric Orange have attempted, except for the authentic Mellotron textures & old analog delay techniques.

Pyramid - Pyramid, Psi-Fi PSCD0004, 1997.

tracklist -

Dawn Defender

Temple - Temple, Psi-Fi PSCD0006, 1997.

tracklist -

Leaves are Falling / Black Light
Age of Ages
Ship on Fire
Crazy Hat / Kingdom of Gabriel

As a bonus, I have included one last taste. Supposedly a lost treasure of Germany's Krautrock days, but in fact an elaborately done tribute project by the brain behind H.N.A.S. (Achim P. Li Khan) & his then girlfriend Tina Schlebusch.

They thought up a fake biography, a fake story of how these unreleased mastertapes were found in a studio in Spain by a former associate of the band. Even the artwork looks like it could have been made in 1971.

Several websites list this project as a real release from 1971 (it was recorded in 1988/89 & first released the on vinyl in 1989.)  Purportedly, Tracks 1-4: Recorded & mixed at the Großer-Space-Studio, May-Dec. 1971; Track 5: Live in Sief, 1972; & Tracks 6-8: Impressionen '71 session outtakes (unreleased).  Tracks 5-8 are bonus CD tracks, not on the original 1989 vinyl album.

H.N.A.S. (Hirsche Nicht Aufs Sofa) was founded by Achim P. Li Khan & Christoph Heemann in 1983.  H.N.A.S.'s sound experimentation started in 1984 with a series of limited cassettes made for demonstration purpose or personal use. Their first LP release was Abwassermusik in 1985 (together with German experimental band Mieses Gegonge).     

The names used for this project were: Erwin Bauer - synthesizer, organ, & guitar; Bernd Barth - synthesizer, voice, & effects; & Tina S. - voice. Bauer & Barth are both in reality Achim P. Li Khan.      

Damenbart - Impressionen '71, Psychedelic Pig PIG CD 03, 2003.

tracklist -

Innovativ Schwingungen
Blumen in Haar
Ich Bin der Wind
Space Invocation
Bring Uns den Frieden
Baum der Erkenntnis

Viel Spaß,

11 February 2018

In a Heartbeat...Death before Dishonor

I'm working on a Krautrock extravaganza, but for now, a great JA affair.

First up is an offering Jack Ruby presents The Black Foundation from one Lawrence "Jack Ruby" Lindo. Jack Ruby was a well respected Jamaican roots reggae producer, most prolific during the 70s. He is most respected for his work with Burning Spear. His studio & label work was extensively covered in the famous "Deep Roots Music" BBC documentary as well as in the movie "Rockers". Lindo died in 1989.

Jack Ruby began recording at a important junction in Reggae music history. Going were the days of sweet soulful Rock Steady; this was the start of the militant seventies. Black Power & Rasta themes were the order of the day. The reggae here is more Marcus Garvey than Martin Luther King Jr. It's more take-charge-of-your-life & fight-the-forces-that-keep-you-down than party 'til dawn. This is an essential journey through some of the greatest most militant Reggae music recorded.  This collection takes the best from the vaults of the Fox & Wolf labels, presenting many of them for the first time. This is truly a snapshot of Jack Ruby's early endeavors.

Various - Jack Ruby presents The Black Foundation, Heartbeat Records 11661-7622-2, 2000.
all decryption codes in comments

 tracklist -

Marcus Garvey - Burning Spear
Mosiah Garvey - Big Youth (previously un-released full length version)
Come Away Jah Jah Children - The Black Survivors
Hard Time - Vinnie Taylor & the Revealers (previously un-released alternate mix)
Warn the Nation - The Eagles
Death Before Dishonor - The Black Disciples (previously un-released)
African Children - The Heptones (previously un-released)
Come Running Back - The Gaylads (previously un-relesed version)
Slavery Days - Burning Spear
Every Knee Shall Bow - The Black Survivors
Free Rhodesia - The Black Disciples (previously un-released)
Decent Citizen - Prince & the Seraphim
Fire (is the Desire) - Justin Hinds & the Dominoes
Rasta Harvest - The Eagles
Youths of Tomorrow - The Gaylads (previously un-released version)
Tell Me not of Other Lands - Justin Hinds & the Dominoes (previously un-released alternate mix)
Sounds of Thunder - The Black Disciples (previous un-released)

The companion piece is the Dub slab of King Tubby / Errol Thompson - The Black Foundation in Dub,
Here King Tubby & Errol Thompson along with Sylvan Morris & Chris Wilson present their hazy, liquidus tracks using the usual disorienting echo, delay, & dropouts that the King perfected. King Tubby's dubs are always distinctive.

Special thanks to Niney the Observer, Horace "Brownie Eagle" Johnson, Chuck Foster, Leroy Jodie Pierson, & Mr. Clement Dodd

 Heartbeat Records 11661-7623-2, 2000.

tracklist -

Marcus Garvey Dub
Jah Jah Dub
Time Hard
Patient Dub
African Birthright
Running Dub
Track 20 Dub
Slavery Days Dub
Dub Upright
Dub in Time
Dub of Tomorrow
Warning Version


27 January 2018

What's that Sound Drifting from the Bleachers?

Brother Ib over at SibLINGSHOT ON THE BLEACHERS has been posting up some of his poetry as spoken word readings:

"While there may be scant few who remember, and less still who give a f@ck, it does not escape me entirely that nearly a decade has rushed by since I broke my promise to defile the bleachers with a bespoke reading or two.
     Well. The ego has shrivelled, the eagle never did land, but the idea which first began percolating down through the topsoil all those years ago to where exhibitionism lies buried continues to fester like human papilloma virus nursing a grudge deep below the skin.
     The monkey may be rusty, his performance wavering, but feed it a couple of tabs of Viagra and the organ still grinds.
     And so. This year coming, plans are afoot to resolve the unconscionable and break out the mic. The logistics remain hazy. The physics untested. But rest assured, the programme is scheduled. There will be a gnashing of teeth. Amen." Ib

His first offering in the series was prefaced thusly:

"Brothers and sisters. Siblings all. As promised earlier, SibLINGSHOT ON THE BLEACHERS is pleased to present the first instalment in a series of esoteric readings culled from these very pages and brought to life by the magic of an ailing ethos digitalis. Ably backed by Gus Ghost, this first reading is dedicated to the legacy of Joe Meek. Thank you." Ib

Now the second in the series ("The second instalment in a series of readings culled from the BLEACHERS' back pages. Please bare with me. The naked essence of the recording may drift into the red on occasion. A streaker stepping off of the benches to tango up in blue." Ib) was just Ib recting "naked" & gave me the idea of dubbing some music with his vocals. After a few feeble attempts & some SOUND advice from Brother Jonder, we came up with something at least listenable.

All this mucking about led to "MIX UP ON THE BLEACHERS!"

"Fourth instalment in this series on the BLEACHERS. In which we throw out an open invitation to all visitors: take a naked reading for a test drive, and create your very own mix. Whether you're quick on the DAW or simply a budding conjuror, there are no prerequisites beyond your enthusiasm for all things dub. All we ask is that submit your end product here for download and potential issue on a strictly limited CDR. If you would like to participate in our project, we will be hosting naked readings on the bleachers for that purpose in the coming days, in addition to selected mixes by the Ghost Men." Ib

So head over to the BLEACHERS & check out what's going on. Maybe YOU are the one to make THE PERFECT MIX.

Mixmasters Unite,

20 January 2018

Come on, Ref, Clough is Fucking Codding!

 Brother Jon has been a contributor here many times before. His posts always have high visitor & download count. They are always well received. They are always well appreciated by yours truly (gives me a break, know what I mean?). Here his latest super submission. As I most always say, "Enjoy".

As I understand it, "cod" is used as an adjective in the UK to indicate an imitation.  "Cod reggae" describes attempts to adapt the Jamaican musical style to rock, pop and punk.  "The Sad Skinhead", "Redondo Beach" and "Dreadlock Holiday" are early examples.   Punky reggae and dub have been attempted by bands from the Clash and the Ruts to the Pretenders and the Bad Brains.  The Police made a career of it. 

But the commercial zone is less interesting than the interzone, where the spatial dynamics of dub stimulated punk's appetite for sonic deconstruction.  These songs might be imitation reggae and dub, but "cod" does not mean insincere or inept.  The songs are neither thievery nor mimicry.   Something is lost in terms of authenticity, but something new is conjured in these transliterations.

This is a compilation in the spirit of 2003's "Wild Dub: Dread Meets Punk Rocker Downtown" and 2012's "Spiky Dread: Punky Reggae & Post Punk Dub".

01 SNAKEFINGER:  The Man In The Dark Sedan (1980)
02 A.MORE:  Judy Get Down (1979)
03 BILL NELSON:  Youth Of Nation On Fire (1981)
04 ELVIS COSTELLO:  B Movie (1980)
05 LONDON UNDERGROUND:  You Don't Know (1983)
06 PIGBAG:  Six Of One (1982)
07 FAMILY FODDER:  The Big Dig (1982)
08 KALAHARI SURFERS:  Township Beat (1985)
09 ANTI SOCIAL WORKERS:  Who's Watching You? (1983)
10 DIAGRAM BROTHERS:  I Didn't Get Where I Am Today By Being A Right Git (1981)
11 23 SKIDOO:  Another Baby's Face (1981)
12 SLITS:  Man Next Door (Version) (1980)
13 BASEMENT 5:  Chip Butty (1980)
14 SINGERS & PLAYERS:  Follower (1982)
15 MEDIUM MEDIUM:  Guru Maharaj Ji (1983)
16 BLACKOUTS:  Everglades (1985)
17 HOLGER CZUKAY:  Witches Multiplication Table (1981)
18 MR. PARTRIDGE:  I Sit In The Snow (1980)
19 RESIDENTS:  Love Leaks Out (1980)
20 FLYING LIZARDS:  Postscript (1995)

Eat Cod,

06 January 2018

Who Killed Jack Ruby?

Wishing you all temporal tangos, mandible mambos, beryllium blues, & bad teeth this New Year. I believe we are in for "DEEP SHIT" this year, so I'm trying to be uplifting my Self.  From deep in my soul to all...

We all've heard MC5, Velvet Underground, the Dead Boys...but how many of us are familiar with Jack Ruby? Yeah, sure, he shot patsy Oswald before that sad tool could spill the assassination beans, but who is this relatively unknown Jack Ruby?

Jack Ruby came alive in 1973 through vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, & classically-trained viola player Boris Pearlman (notorious himself as Boris Policeband...search out Stereo / Mono by Policeband elsewhere on the web...readily available & a great listen), who were later joined by bassist George Scott (of James Chance & the Contortions / 8-Eyed Spy / John Cale). The first incarnation of Jack Ruby recorded two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit & Run" & (the first song I ever heard from Jack - this shit made a great sandwich) the bizarre number entitled "Mayonnaise", based around Boris' amplified viola & primitive electronic 'beats' sequenced on Cohen's Serge synthesizer.

These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Jack now gave birth to three more anthems of arch art-punk: "Bored Stiff"; "Bad Teeth"; & "Sleep Cure" were recorded in a rapid-fire five to six hour session at Columbia Studios in May 1974. On these three song in particular we hear the Jack Ruby sound: Cohen patching musique concrete sounds through the Serge; Gray's banshee guitar playing & Hall's snotty vocals.

Fast forward two years. Cohen has left & is writing for Letterman. Hall & Gray want to reactivated Jack Ruby as a live-performing unit so they hook up with George Scott. This line-up played harder, faster, & louder than any other band in New York at that time. Their rehearsals at Matrix studios & dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray & Scott are legendary. Casa Jack Ruby was a mecca for NYC punk & No-Wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, the only original member left standing, taking over vocal duties for a couple of shows they played with Teenage Jesus & the Jerks that headlined the Fleshtones. They played one last riotous show with new vocalist Stephen Barth at Max's Kansas City, before calling it quits.

"     Hit & Run is a two-disc set (Hit - CD1 & Run - CD2) of everything (nearly...a fantastic cover of Hawkwind's "Brainstorm" is a much missed ommission - ed.) Jack Ruby recorded between 1973 & 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although forty years old still sound thrillingly-urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974—nine short tracks that play like a library record, book-ended by two longer ones—some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music—hidden for decades, now-revealed—constituting a previously-unheard secret history of the New York City music scene of the early 1970s."    Jon Savage

Jack Ruby - Hit & Run 2xCD, Saint Cecillia Knows CEC002, 2014.
all decryption codes in comments

Hit CD -
Hit & Run
Bored Stiff
Bad Teeth
Sleep Cure
Beggars Parade
Neon Rimbaud
Out of Touch
Hit & Run (‘77)
Bad Teeth (Don Fleming ‘Instant Mayhem’ remix)

Run CD -
Destroy / Lost
Beryllium Blues
Parietal Cha Cha
Lithium Serenade
Hydrogen Lullaby
Palaatine March
Sphenoid Waltz
Sodium Nocturne
Temporal Tango
Mandible Mambo
Ghost Note


31 December 2017

Let’s Get Graphic about No Wave...the Fucking Youth of Today

Just Another Asshole was a No Wave mixed media publication project launched from the Lower East Side of Manhattan from 1978 to 1987. Barbara Ess started the title in 1978 as a personal 'zine: a crudely photocopied compilation of her collages in a makeshift transparency on which the titled was painted in bright red nail polish. Ess served as editor for all seven issues of Just Another Asshole. [1]

Issues 3 & 4 were co-edited by Jane M. Sherry; issues 5 through 7 were co-edited by Glenn Branca.

Issues #1 & #2 were 'zines comprised of photocopied high-contrast cut-outs of appropriated newspaper headlines & détourned news clippings, many of them either banal or tragic happenings: fluke accidents; random murders; pedestrians killed by falling debris; television hypochondriacs; & botched suicides. Ess came up with the publication's title after reading a New York Post article about a deaf-mute boy killed by an intruder he couldn't hear: "There was a picture of the boy, and he looked so sweet. I made a color Xerox of it, and I wrote on it 'just another asshole' ", she recalled. Although the 'zine started as a response to the alienating & dehumanizing effect of media, which exploited the same images & headlines that Ess used for their shock & entertainment value, JAAsshole evolved into an exploration of  that media's potential, when used in the right hands, to foster community & collectivity among like-minded artists.

Issue #3 was a tabloid format. This issue was co-edited by Jane M. Sherry. JAAsshole put out an open call for contributions in which ''anything submitted will be accepted, no matter what, no matter by whom''. The final product included contributions from Jenny Holzer, Barbara Kruger, Carla Liss & as many as forty others. It accompanied the ''Library Show'' exhibition at Colleen Fitzgibbon's East Village gallery. [2]

Issue # 4 was a four-page spread in the February 1980 issue of Artforum. [3]

Issue #5 was a compilation anthology LP of 84 artists' &musicians' work. The LP was released with the help of White Columns. It consisted of short, experimental music & spoken word recordings, no track longer than one minute (the cover states ''77 tracks x :45 sec. x 83[sic] artists'').

Issue #6 was a paperback book. Anthologies played a major part in defining the various attitudes of downtown N.Y.C.  No Wave work. JAAsshole #6 is one of the great seminal writing compilations. Edited with Glenn Branca, this issue outlines the variety of styles & aesthetics that were developing in the early 1980s. In all, sixty artists & writers are represented, including works by: Kathy Acker; Eric Bogosian; Mitch Corber; Brian Buczak; Jenny Holzer; Cookie Mueller; Richard Prince, Joseph Nechvatal, Judy Rifka, David Rattray, Arleen Schloss; Kiki Smith; Tod Jorgenson; Lynne Tillman; Anne Turyn; Ann Rower; Reese Williams; David Wojnarowicz; & Barbara  Kruger.

Issue #7 was Thought Objects (??? - I think No Wave was done by then)? This final installment of the Just Another Asshole project was co-edited by Glenn Branca & published in 1987. This publication includes photographs by Alice Albert & others as well as essays by Rosetta Brooks, Tricia Collins & Richard Milazzo, John Hilliard, Gary Indiana, Cookie Mueller, David Rattray, Carol Squiers, Amy Taubin, & Lynne Tillman.

For this blog, for this crowd, for this here New Year, we feature for your listening scarification...Just Another Asshole #5 - The LP.

all decryption codes in comments

 Side 1 / Cut 1 –
"Eggs Benedictus" – Larry Simon
"Kojak / Wang" – Dara Birnbaum
"Untitled 2" – Carla Liss
excerpt from "Times Sq. Show Audio" – Bobby G
"Incantation" – Wharton Tiers
"True Confessions" – Carol Parkinson
"Untitled 10" – Nina Canal
"Shift" – Lee Renaldo"
"Untitled 5" – Jenny Holzer
"Sound Stroke" – Annea Lockwood

Side 1 / Cut 2 –
"The Smith-Leroy Comedy Team" – Michael Smith / A. Leroy
"Dinner Time" – Chris Nelson
"Untitled 15" – Willie Klein
"Simply Riding a Dream" – Mitch Corber
"Untitled 8" – Mark Abott
"Untitled 3" – Dan Graham
"On the Promontory" – Michael Shamberg
"Radio Song" – Anne DeMarinis
"The Fucking Youth of Today" – Thurston Moore

Side 1 / Cut 3 –
"Red Ants" – Andy Blinx / Don Hunerberg
"Calvin Klein" – Vikky Alexander
"Dear John" – John Howell
"Untitled 12" – Salvatore Principato
"Penumbra" – Nigel Rollings
"Grand Central Station" – Peggy Katz
"Highway Patrol" – Eric Bogosian
"Happy Police Horn" – Herr Lugus
"Door Stop" – Amy Taubin
excerpt from "The Machines" – Remko Scha [4]

Side 1 / Cut 4 –
"Talking Art" – Susan Russell
"Untitled" – Bill Buchen
"Well, Alice" – Verge Piersol
"Tell the Story" – David Hofstra / Lynne Tillman
"K-4" – D. Brown
"Dogs" – Sandra Seymour
"Index Circa Seventy" – Phill Niblock
"United Technology" – Barbara Kruger
"Fetish" – John Rehberger

Side 2 / Cut 1 –
"Turtles Travel Slower on Asphalt" – Paul Mcmahon / Nancy Radloff
"Dub Bums" – Bruce Tovsky
"Untitled 9" – Martha Wilson
excerpt from "Slowly I Turn, Step By Step, Inch By Inch ...." – Ned Sublette
"Faspeedelaybop" – Glenn Branca
"You Will Start Out Standing" – Gail Vachon
"Deutschland Etude" – B. Conan Piersol
"A Natural Death" – Gregory Sandow
"Dirty Tape" – Stephan Wischerth

Side 2 / Cut 2 –
"Warhead in the Forehead" – Bob George
"It's True" – Judy Rifka
"Long Song" – David Garland
"32 Bad Movies" – Mark Bingham
excerpt from "Strangers in a Strange Land" – Michael Byron
"It's Hot Love" – Glenda Hydler / Susan Fisher
"Untitled 7" – Laurie Spiegel
"Entrada" – Barbara Ess
"Untitled 6" – Kiki Smith
"Untitled 13" – Shelley Hirsh

Side 2 / Cut 3 –
"Foreign Waters" – Peter Gordon [5]
"Watch Out - Verse 5" – Arleen Schloss [6]
"Sweden - Den Mother" – Tod Jorgensen [6]
"Voices and Chambers" – David Rosenbloom
"Untitled 4" – Doug Snyder
"Floating Cinema Excerpt" – Jon Rubin
"Untitled 14" – Thomas Lawson
"Pipe Music" – Harry Spitz
excerpt from "64 Short Stories" – Rhys Chatham / David Linton
"Salutations Roma" – Isa Genzken

Side 2 / Cut 4 –
"New Sneakers" – Daile Kaplan
"Working Youth" – Kim Gordon / Miranda
"Untitled 11"– Sally A. White
"Crown of Thorns" – Joseph Nechvatal
"Friend Heart Alarm" – Steven Harvey
"Radio Off" – Sammy Marshall Harvey
"Untitled 1" – 0:51
"Evelyn McHale" – Rudolph Grey
"Die" – Richard Morrison
excerpt from "Metal and Plastic" – Z'EV

Vitin e ri të Lumtur,

[1] – In the musick world, Barbara Ess has performed & recorded post-punk music with bands since 1978, including The Static, Disband, & Y Pants. She often performed at art galleries, at the Mudd Club, & at Tier 3.

[2} – After studying abstract art at Duke University, traditional painting, printmaking, & drawing at the University of Chicago, in 1974 Jenny Holzer moved to Manhattan to participate in the Whitney Museum's independent study program where she began her initial exploration of language as art. She began her ''Truisms'', philosophical concepts in simplified phrases for everyone. These then became black script on anonymous sheets that she wheat-pasted on buildings, walls, & fences around NYC. Her pieces encouraged pedestrians to scribble messges on the posters & make verbal comments. Holzer would often stand nearby one of her posters & listen to the conversations her art started, This interaction with the art was Holzer's real goal. In 1982 for the first time, Holzer installed a large electronic sign on the Spectacolor board in Times Square. This piece was sponsored by the Public Art Fund program. The message was part of her Survival series which commented on the great pain, great delight, & great ridiculousness of living in contemporary society.

At the beginning of her art career, Barbara Kruger was intimidated to enter New York galleries due to the art scene which was an atmosphere that, to her, did not welcome "particularly independent, non-masochistic women". However, she received early support for her projects from groups such as the Public Art Fund that encouraged her to continue art making. She switched to her modern practice of collage in the early 80s.

Hot on the heels of Pussy Riot's condemnation of Russia's politicized justice system & suppression of freedom of expression, millions of young women have been caught donning balaclavas in solidarity with feminism for the first time. Echoing scenes of riot grrrl rebellion & Guerrilla Girls anonymity, certainly, the call to charter communities of supportive & creative women via music is nothing new. An apartment on the edge of Prospect Park in Brooklyn served as host to infrequent practices for DISBAND members Martha Wilson, Ilona Granet, Donna Henes, & Diane Torr (a rotating membership, which at some moments has included Barbara Kruger, Ingrid Sischy, Barbara Ess, Daile Kaplan & many others). Amongst the numerous No Wave bands in New York in the late 70s & early 80s who predicated on negation, DISBAND represented one of many new spaces for women who rejected the mainstream culture of the time.

DISBAND did not come out of any specific tradition, but instead, members made their own by blurring the lines between performance art & live music. None of the members were technically skilled in music. As Martha Wilson states in the Martha Wilson Sourcebook: 40 Years of Reconsidering Performance, Feminism, Alternative Spaces, "We did play some instruments: plastic bags; newspapers; hammers; Col. Sanders' chicken buckets, bed sheets, hotel bells".

[3] – Ingrid Sischy, before becoming a photography & art critic for The New Yorker (1988), before taking the helm of Interview magazine (1989), long before becoming a contributing editor for Vanity Fair (1997) was the unlikely editor of Artforum magazine. The beloved South African native, who passed away in July, 2015 at the age of 63 from breast cancer,  became the editor for Artforum in late 1979. When the issue arrived on newsstands, it caused a great stir. It was utterly unlike any previous issue of Artforum. The contributors included the photographer William Wegman, the English conceptual artists Gilbert & George, the conceptual artist Joseph Buys, the performance artist Laurie Anderson, the editors of the radical feminist magazine Heresies, & the editors of the art journal Just Another Asshole. The whole thing had an impudent, aggressively unbuttoned, improvised yet oddly poised air. The cover of Sischy's first issue was a reproduction of the cover of the first issue of an avant-garde magazine of the forties called VVV. Sischy had borrowed the original cover from David Hare, VVV's former editor. Someone who had not come from John Szarkowski's MoMArt photography department might not have been as overjoyed as Sischy was by the cigarette burn & the spills that stained it, but she correctly gauged the surreal beauty that these ghostly traces of past life would assume when photographed, as well as the sense of quotation marks that they would help impart to the notion of a cover about a cover.

[4]  – Remko Scha - Guitar Mural 1 featuring The Machines C60, Taal Beeld Geluid, 1982. This is a recording of mechanically produced music from an installation in Corps de Garde, Groningen, Netherlands, October 1981. The Machines are a group of fan motors, electric drills, & electric sabre saws. They play electric guitars by means of rotating strings, rotating metal brushes, vibrating metal bars, & vibrating ropes. When the rotating / vibrating speeds of the motors are varied, different rhythms emerge from their interaction with the guitars. From the beginning of the 1980s until his death in November of 2015, The Machines was Remko’s band, though he never struck a note on any of their instruments during the group's lifetime. Not directly. Described on Scha's website as ''a group of electric motors who play electric guitar'', The Machines was an exercise in automated music, a hybrid of kinetic art & minimalist punk rock.

[5] – Peter Gordon - Star Jaws, Lovely Music, Ltd LML 1031, 1977. Peter Gordon & The Love of Life Orchestra; recorded & mixed by Peter Gordon with "Blue" Gene Tyranny; lyrics by Peter Gordon & Kathy Acker. Sensuous music expressed through a slick pop-rock language with simple harmony, generating a pop-classical hybrid. Saxophone solos, teenage-love lyrics, synthesizer effects, & conventional bass / drum parts mixed with quite a bit of intellect & abstraction. In addition to his own work or that with his Love of Life Orchestra, he has appeared on or composed music for albums by Laurie Anderson, Suzanne Vega, David Johansen, Elliott Murphy, The Flying Lizards, David Van Tieghem, Lawrence Weiner, and Arthur Russell.

[6] – Wednesday at A's was an on-going performance jam held in Arlene Schloss' Lower East Side loft on Broome Street. It began in 1979 & continued until 1981. During its tenure, the venue offered performance, art, & music featuring artists such as Jackie Apple, Eric Bogosian, as well as Schloss herself. Musical acts drew from the New York Punk / No-Wave scenes, featuring performers like Alan Suicide, Thurston Moore, & Glenn Branca, Flyers for Wednesday at A's were produced at Tod Jorgensen's Copy Shop on Mott Street - a nexus for what came to be known as the "New York Color Xerox School" which was an integral part of JAAsshole.  NØ

24 December 2017

NØ - - - More NØ Wave - - - NØ

Glenn Kenny of Trouser Press wrote: 
     "Around the turn of the decade (1980), Mars leader Sumner Crane corralled a bunch of cohorts (Mark Cunningham, Sumner Crane, & China Burg of Mars along with Ikue Mori & Arto Lindsay of DNA - NØ) and recorded John Gavanti, a no wave adaptation of — get this — Don Giovanni. Some have called this the most unlistenable record ever made, and that's a fine invitation indeed."

Mark Cunningham wrote about the project on his personal website:
     "John Gavanti was, in a sense, a band, as we spent over a year developing and rehearsing the work. It consisted of Sumner Crane, the author of the libretto and songs, Don Burg, alter ego of China Burg, and myself as well as Ikue Mori from DNA. In the recording sessions we also used Arto Lindsay and his brother Duncan on garbage lid percussion for a samba takeoff. Sumner played guitar and piano, Don bass clarinet and I managed to get in trumpet, trombone, baritone horn and tuba. Ikue played the viola and cello. Neither she nor Lucy had ever touched those instruments before. Sumner called the shots generally but the arrangements were collective improvs. We recorded it in NY at Sear Sound, an all vacuum tube studio later popularized by Sonic Youth. It was released on my own label Hyrax in 1980, and sold over the years almost all the 3000 vinyl copies printed. It's now been reissued as a CD on Atavistic."

John Gavanti (Mars & DNA) - John Gavanti, Hyrax Records HY-101, 1980.
decryption code in comments

Side 1 -
I Awake
Down to the Ocean
On Board Ship
Gavanti Samba
Lo! La!
OhAncient Ocean
New York Blues

Side 2 -
Higher & Higher
Mirror Mirror
Venice / Locus Solus
Gavanti’s Lament
Homeward Bound

Joyeux Brumalia,


23 December 2017

Xmas - No Wave, Musick Slave

This one is for Ib, the truest Sibling of them all. This is not Mechanical Flattery, but it’s definitely the best Lunch.

Originally released in France in 2003 on CD. Tracks selected & produced by Michel Esteban.
Original analog master tapes digitally transfered at 24 bits & mastered to 16 bits. Dedicated to the memory of Anya Phillips, Bradley Field, Patrick Geoffrois, George Scott, & Summer Crane.

ZE Records ZEREC LP01, 2005.
decryption code in comments

Side A -
Contort Yourself - James White & the Blacks
Wawa - Lizzy Mercier Descloux
Lady Scarface - Lydia Lunch
Mister Ray - Suicide

Side B -
3E - Mars
The Closet - Teenage Jesus & the Jerks
Rosa Vertov - Rosa Yemen
Pini Pini - Arto/Neto
Torso Corso - Lizzy Mercier Descloux
Almost Black - James White & the Blacks

Side C -
11,000 Volts - Mars
Mechanical Flattery - Lydia Lunch
Decryptated - Rosa Yemen
Empty nEyes - Teenage Jesus & the Jerks
Designed to Kill - The Contortions
Malu - Arto/Neto

Side D -
Less of Me - Teenage Jesus & the Jerks
Larousse Baron Bic - Rosa Yemen
That’s When Your Heartaches Begin - James Chance & Pill Factory
Herpes Simplex - Rosa Yemen
Twice Removed - The Contortions
Radiation - Suicide


12 December 2017

Not the Marquis...

I'm crying everyone's tears
And there inside our private war
I died the night before
And all of these remnants of joy and disaster
What am I suppose to do

I want to cook you a soup that warms your soul
But nothing would change, nothing would change at all
It's just a day that brings it all about
Just another day and nothing's any good

The DJ's playing the same song
I have so much to do
I have to carry on
I wonder if this grief will ever let me go
I feel like I am the king of sorrow, yeah
The king of sorrow

I suppose I could just walk away
Will I disappoint my future if I stay
It's just a day that brings it all about
Just another day and nothing's any good

The DJ's playing the same song
I have so much to do
I have to carry on
I wonder will this grief ever be gone
Will it ever go
I'm the king of sorrow, yeah
The king of sorrow

I'm crying everyone's tears
I have already paid for all my future sins
There's nothing anyone
Can say to take this away
It's just another day and nothing's any good

I'm the king of sorrow, yeah
King of sorrow
I'm the king of sorrow, yeah
King of sorrow

Songwriters: Andrew Hale / Helen Adu / Helen Folasade Adu / Paul Denman / Paul Spencer Denman / Stuart Matthewman

Original version
Letterman 3 April 2001
"Don't Cry" 2Pac - Sade mash-up
Guru remix
Fun Lovin’ Criminals remix
Cottonbelly remix
Radio edit
Echo Deep bootleg
Live 2011


17 November 2017

We Are the Night Family

Been a while since we drew some tea with WSB. Remedy provided.

So, I make the shooting gallery 4:00 p.m. and spot Skipper B., an old “Deadliner”...I know him from light-years back, a shabby inferential presence at the Dream Machine in the penny arcade and he hiccups:

“Quiet the roses...”

We make it down to the waterfront, where the old Yacht Club used to be, and this Time vigilante jumps out on us:

“Are you a Member?”

Without changing his expression, the Skipper took a small handgun from his side pocket and shot him:

“Wretched idiot inhabitants...running, do you see, after me...”

Dusty sunlight...dingy cabin...it was a typical “Klinker”, as such tramp spacecraft are called...the Skipper brings out a lead bottle of “Heavy Blue” and pours two lead cups...we “blue” out. He looks at me and says:

“Tick ahead of the Geigers, eh mate?”

I tell him I am carrying maps and lay out a BG---Brion Gysin---on the table. He checks the BG against his MOA---map of the area---and nods:

“Seems all right...What’s it to be then?”

“First, we pick up friends in Frisco...”

“You chaps don’t want much for a map, do you now?”

“Well, look at your own situation...stranded here...no crew...no maps...”

“Shall we have the other half?” he pours another round of “Heavy Blue” and we make a deal.

excerpt from “Films” - The Third Mind by William S. Burroughs and Brion Gysin, Seaver Books, New York, 1978.

Here’s a 3xCD anthology of cut-up tape pieces by William S. Burroughs. A remarkable collections of recordings made at various locations in Tangiers & New York between 1964-65. Here is rare & unpublished material, over three hours worth. This collection provides a valuable insight into Burrough's methodology. It is an important document of his expansion from cut-ups on paper to vocal permutations & sonic experimentations. Booklet contains informative essay by Barry Miles & a number of period black/white photographs.

William S. Burroughs - Real English Tea Made Here 3xCD
Audio Research Editions ARECD301, 2007.
all decryption codes in comments

Disc One -
It’s an Experiment
Cut-ins with Dutch Schultz
23 Skidoo
Are You Tracking Me

Disc Two -
Old Farmers’ Almanac
Puertos de los Santos

Disc Three -
The Piper Pulled Down the Sky
Wonderful Copenhagen
Towers Open Fire
We are the Night Family 

Enjoy a cuppa,

29 October 2017

Horace Provides Us with Dub Guidance

Two up & down cinema stands in straw images.
They have succeeded in securing themselves from Saint Nicholas (who?).
One night I dreamt about children,
who the wicked butcher was talking to in a pale violet mind.
They can foretell the night.

Smith was drawing the lantern light in the grey, glutinous, sup-sucking mud.

Identifying the disease as the wood in rooms charged.
Conspiracy thrives in spirits formidable.
The naive defray the cost as they ask,
"You blokes notice anything about the sky?"

The boy felt his mind bulked with the thrashing progress of some things,
a sound he knew as the easy beauty of the darkness.

Not only have the twins destroyed the night, they have destroyed us.
He & also yourself are the link today.
The entrance is the unicorn on the counter.
A better way to control it is a rendezvous for the young.
It's so simple - a simple shift & throng & it's so good.
It's the first step to all the audience's impatience.

The sobbing, writhing girl was on the tracks below them.

Nations - a fee that they think for - new Authorities.
They even have food. Burial mounds. Boiled coffee. Acid breath.

Me, if I me, insisting I think conspiracies as well.
Red, more deceptive than to be the one's fit, might be room for the rebellion.
I've said sure to the cure but you're so good since the Romans recovered.
The semiliterate subjects think to help again, right now.

Inside me I felt a dull sickness.
Inside me I felt the grey, glutinous, easy beauty of the darkness.

I found him in the Temple box, himself - you probably think you
have a monopoly, the better to prove the Greater Panama reality.
It really is. Not only there, but managed to fight for it.
In fact it is all fuck drive practice but the demand has
fallen & they haven't POOP!.

So WILL conquered up the young, seldom by auras.
They called the phase "popular".
How to turn a tiny interview into marital satanism.
What type of offerings are leading it?
Not only does mescaline, quite grounded in fact, bring it back to Pop.
It still takes far more for putting it in than it takes to be taking it out.

The boy was drowning in the lantern on the tracks below.
The sobbing, writhing burial mounds.
Smith felt his mind bulked with the thrashing progress of boiled coffee.

Twins are represented by appeals to the womb.
Sufficient from mother - the martyr twins.
The face turned toward the transmission, extremely touchy.
Three have hats. One has movement, put on in the rain.

Fodder for nincompoops - pass as their Father.
Saint Such.
Famous singer.

Skill cannot rightly qualify as religious mores.
Their Cosmas is only never daunted, it has obvious sources.
Choleric Occultism - a contradiction between dual established faces powdered,
salting merit that detracts from the two difficulties this year:
Occult (hidden) knowledge & revolutions.

An earthquake shade, gesticulating wildly, other things apropos.
Stroll the palace or change your occupation, hippy writer.
The water becomes at evening an "occult question from reporters".
He didn't give fuck all,
but will escort the negresses authoresses of Conspiracy Acapulco Gold.
How occult.
They joined the pleasure seeking in a dark, ill-ventilated well.
It was a tiny Post Office.
Tiny but difficult to reach the box,
to send the predictions,
busy wrapping the gift like lips painted carmine

Dead twins are deified. Black dandies have all dropped out.
The vacuum made its site outside until each fashionable & willing "practice".
He seemed to take the time or make the inclination,
a day long walk one night, undaunted,
where high-heeled shoes appear wearing white Claire voices.

Smith watched the sobbing, writhing girl & boy on the tracks below.
He threw his lantern's light against the grey, glutinous, sup-sucking dusk.
Suddenly the boy stopped thrashing. He felt his mind bulked with the lessening
of the acid breath darkness, the boiled coffee gloom, the burial mound dim.
He heard a sound he knew to be the tintinnabulation of hope.

The equal of living, I burst to work for the self-conscious life.
Inside, they sell it by the half tub,
even to obtain a favor only found in the East.

It is customary.

You're keeping up on ignorance.

Horace Andy - Dub Box-Rare Dubs 1973-1976, Jamaican Recordings JRCD007, 2002.
decryption code in comments

Why oh Why Dub
Dub Larking
Zion Dub
Dub Money
A True Dub
Dub Guidance
Dub Say Who
Dub on my Mind
Love of a Dub Band
Use This Dub
Dub Letter
Dub Angel
Bless This Dub
Dub ah Fulfill

One of the sweetest voices in reggae dubbin' it down.
Previously unreleased versions produced by Bunny Lee straight from the master tapes.

Enjoy once more,