Pop singer Katy B has teamed with super-producer Mark Ronson and corporate giant Coca-Cola to record “Anywhere In The World,” for the 2012 Olympics. On the tune, the always casual pop star, who made noise with her dancefloor heavy debut album, continues on pace by giving listeners something fun to vibe with. Katy B recently describe her music as, “probably a combination of different sounds from U.K. bass music going back to the 1990s all the way to the present, all mashed up into one.” She credits her sound to influences from R&B, grime and garage, house and jungle and drum & bass. [Source]
Chinatown is a song performed by The Move. Released in 1971, this was The Move’s penultimate release reaching number 23 on the UK singles chart. Recorded at the same time as the band’s alter-ego Electric Light Orchestra were laying down tracks for their first album. Former Move vocalist Carl Wayne claimed it was his favourite song by the band. The b-side was a Lynne penned song Down on the Bay. The single (with an edited version of “Chinatown”) was issued on MGM, but quickly withdrawn (probably prior to regular stock copies pressed, although yellow label promos have been seen). The single with the same edit was almost immediately issued on United Artists.
[Dedicated to Niels Boe Sørensen]
‘Autonomia’ will be released through Future Noise Music on February 20th, a dense agit-protest superfunk monster with sirens and Bobby Gillespie’s frenetic ‘keeping the dream alive’ call-and-response chant with Mark Stewart who explains the story behind the song – “I’d written this song about Carlo Giuliani, who was killed at the G8 demonstrations in Genoa. At that point, it was a protest … afterwards I started getting on with Bobby and I asked Adrian [Sherwood] about doing it. It’s important that people hear about the story, it’s the message and the atmosphere as much as anything.’ Directed by Douglas Hart (founding member and bassist of The Jesus and Mary Chain) with Dominic Lee & Chiara Meattelli, the video exhibits a raw, riotous & feverish vivacity infused with the artists’ trademark punk rock ethos to convey the song’s deep political message. “Starting out as a teenager in the late 70s with the Pop Group and thru the 80′s with the Maffia up to his new solo record, Mark Stewart has led the attack on conformist reality. Mark is a constant inspiration and a true Thief of Fire. A poet of paranoia and a great laugh. What a guy.” — Primal Scream
Sally Can’t Dance is the fourth solo album by Lou Reed. It is Reed’s highest-charting album, reaching the Top 10. It is also the first solo Lou Reed album not to feature any songs originally recorded by Reed’s earlier band, The Velvet Underground, as well as the first of Reed’s solo studio albums to be recorded in the United States (Reed’s previous three albums were all recorded in England). Aside from the title song, Sally Can’t Dance includes “NY Stars” (in which Reed pokes fun at “fourth-rate imitators” who tried to impress him by copying his style), “Kill Your Sons” (a reflection of his stay in a psychiatric hospital at his parents’ insistence, during his teen years), and “Billy,” about the fate of a schoolmate with more “normal” ambitions than he’d had. The latter track reunited Reed with erstwhile Velvet Underground bandmate Doug Yule, playing bass. More tracks featuring Yule from the album’s sessions have emerged on a recent CD re-issue of the album. The album’s tour featured Danny Weis, guitar; Micheal Fonfara, keyboards; Prakash John, bass and Pentti “Whitey” Glan, drums on the European leg. Mouse Johnson played drums on the Australian and US sections. The sound engineer for all the live shows was Robin Mayhew who had previously worked with David Bowie during his Ziggy Stardust period. While the record was a hit and elevated Reed’s status as a star, he reportedly was disappointed in its production (in which he took a largely passive role) and the treatment of the songs. Reed remarked, “It seems like the less I’m involved with a record, the bigger a hit it becomes. If I weren’t on the record at all next time around, it might go to Number One.” His record company, RCA Records, insisted on a rapid follow-up album, while his career appeared to be peaking. Tiring of the pressure put on him, and with his contract requiring RCA to release whatever record he gave them, Reed handed over the master tape of Metal Machine Music – an hour of feedback and noise, with no hope of becoming a hit.
On its release, it was reviewed in Rolling Stone magazine as sounding like “the tubular groaning of a galactic refrigerator” and as displeasing to experience as “a night in a bus terminal”. In the 1979 Rolling Stone Record Guide, critic Billy Altman said it was “a two-disc set consisting of nothing more than ear-wrecking electronic sludge, guaranteed to clear any room of humans in record time.” However, the first issue of the seminal New York zine Punk, placed Reed and the album on its inaugural 1976 issue, presaging the advent of both punk and the discordance of the New York No Wave scene. To quote critic Victor Bockris, Reed’s recording can be understood as “the ultimate conceptual punk album and the progenitor of New York punk rock.” The album was ranked number two in the 1991 book The Worst Rock ‘n’ Roll Records of All Time by Jimmy Guterman and Owen O’Donnell. The book gives sympathy to legendary record cutting engineer Bob Ludwig for having to listen to the album in its entirety. (In fact, according to the liner notes of the 2000 reissue of the album, Ludwig was “totally into what Lou was doing” and compared the work to that of avant-garde classical composers Iannis Xenakis and Karlheinz Stockhausen.) In 2005, Q magazine included the album in a list of “Ten Terrible Records by Great Artists”, and it ranked number four in Q’s fifty worst albums of all time list. It was again featured in Q magazine in December 2010 for the “Top Ten Career Suicides” list, where it came eighth overall. The Trouser Press Record Guide referred to it as “four sides of unlistenable oscillator noise,” parenthetically calling that assessment “a description, not a value judgment.” Probably the most sympathetic appraisal of Metal Machine Music was given by rock critic Lester Bangs, who wrote that “as classical music it adds nothing to a genre that may well be depleted. As rock ‘n’ roll it’s interesting garage electronic rock ‘n’ roll. As a statement it’s great, as a giant FUCK YOU it shows integrity—a sick, twisted, dunced-out, malevolent, perverted, psychopathic integrity, but integrity nevertheless.” Bangs later wrote a tongue-in-cheek article on Metal Machine Music titled “The Greatest Album Ever Made”, in which he judged it “the greatest record ever made in the history of the human eardrum.”
[Dedicated to Lars Top-Galia]