— ๐˜๐˜ช๐˜ฏ๐˜บ๐˜ญ ๐˜ญ๐˜ฐ๐˜ท๐˜ฆ๐˜ณ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ค๐˜ฐ๐˜ญ๐˜ญ๐˜ฆ๐˜ค๐˜ต๐˜ฐ๐˜ณ ๐˜ง๐˜ณ๐˜ฐ๐˜ฎ ๐˜š๐˜ฑ๐˜ข๐˜ช๐˜ฏ —

jueves, 29 de octubre de 2020

miรฉrcoles, 28 de octubre de 2020

FALLING AND LAUGHING, ORANGE JUICE (1980)


Released on the semi-legendary Postcard Records, Orange Juice provided a joyful alternative to the sturm und drang of post-punk’s austere intellectualism. The Edinburgh band’s debut single, Falling And Laughing was a little ray of sunshine; with a young Edwyn Collins at the helm, they sounded every bit as fresh as their name suggested.


 

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martes, 27 de octubre de 2020

TYPICAL GIRLS, THE SLITS (1979)

 

The Slits were gobby and fearlessly uncompromising; they also gloriously redef ned the perception of what a girl band could be. Their classic debut single Typical Girls is driven by the band’s distinctive punky-reggae rhythms with a less-than-faithful version of Heard It Through The Grapevine on the B-side. It was the 45 that set the stage for the riot grrrls to come. 


 

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domingo, 25 de octubre de 2020

UNDER ME SLENG TENG, WAYNE SMITH (1985)

 

The digital bassline of Wayne Smith’s irresistible 45 was the first time computerised rhythms were used in Jamaican recordings and sparked a mini-revolution. It drew dancehall reggae closer to the production values of its cousin, US hip-hop. The rhythm may have been an attempt to recreate Eddie Cochran’s Somethin’ Else.


 

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sรกbado, 24 de octubre de 2020

MOTร–RHEAD, MOTร–RHEAD (1977)

 

Lemmy named his post-Hawkwind outf t after a track he’d previously recorded with the druggy space rockers; it was a safer bet than his first choice – the less-than-radio-friendly Bastard. This breakneck ode to speed-freakery bridged the gap between metal/punk and would go on to have a profound effect on any number of bands, including Metallica.


 

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viernes, 23 de octubre de 2020