“If You Didn’t See Me (Then You Weren’t On The Dancefloor)” is the newest single from Dale Earnhardt Jr. Jr. out April 2nd. The track will be featured on DEJJ’s forthcoming Patterns EP to be released on April 16.
Written and produced by Motown’s main production team of Holland–Dozier–Holland, the song’s slow tempo accompanies a somber lyric which delves into the feelings of depression which can set in after a breakup; instrumentally, this is showcased with a gothic and dramatic musical arrangement and use of harpsichord, in tow with the trend of baroque pop during the mid-1960s. “My World Is Empty Without You” was one of the few songs written by the team for The Supremes that didn’t go to number one, peaking at number five on the US pop chart for two weeks in February 1966 and at number 10 on the R&B chart; the single failed to chart on the UK Singles Chart. The group performed the song on the CBS hit variety program The Ed Sullivan Show on Sunday, February 20, 1966.
In 1974 at Detroit’s United Sound Studios with engineer Jim Vitti, they recorded seven songs written by David and Bobby. According to the Hackney family, Columbia Records president Clive Davis funded the recording sessions, but implored the band to change its name to something more commercially palatable than Death. When the Hackneys refused, Davis ceased his support. At any rate, they only recorded seven songs instead of the planned dozen. The following year they self-released 500 copies from the session on the 7″ single “Politicians in My Eyes” b/w “Keep on Knocking,” on their Tryangle label. Death officially broke up in 1977.
Death presents the first single release of music recorded by the now performing group Death. Releasing a track that is true to the historic Death tradition of straight ahead Rock-N-Roll via Detroit of the 70s. The sound is hard Rock-n-Roll with a very raw Detroit-Rock edge. The song “Relief” (written in 2010) highlights the full circle of Death in bridging Death of today to the Death/Detroit archive of the 70′s. Rock-n-Roll brings Relief. Relief from the mundane, Relief from holding back your emotions, Relief from the system, and the Relief you feel when you have worked all week and the weekend is just beginning, Relief!! Rock-n-Roll!! This is the first Death single release since 1976. In honor of that fact, Death has released the song “Relief” on the original Tryangle Records Label from Detroit in 1975. The Death Story continues to unfold. Please buy the MP3 here.
Here’s a fabulous 45 pairing like minded spirits, Detroit’s Fuxa sharing wax with former Suicide legend Martin Rev! Not only that but this one’s on glorious multicoloured, ‘splatter’ wax and it comes housed in an Anthony Ausgang designed sleeve. Fuxa’s Randall Niemann has been creating spaced out, psychedelic electronica for nigh on 15 years now, on this tune “Marty Suicide” he’s joined by former Spacemen 3 and Spectrum members Mark Refoy and Richard Formby, on a tune penned as an ode to his heron on the flip. Martin Rev’s “Coyote” is a totally beautiful, almost angelic, electronic piece- think Florian Fricke’s from the heavens, vocal choir synth sound from “Aguirre”, sped up slightly with added Moog washes…?! [Source]
[Dedicated to P.G. Frandsen]
Their name, The MC5, reflected their Detroit roots (it was short for “Motor City Five’), was vaguely reminiscent of a sports car name (like the GTO), and echoed the Dave Clark Five, at the peak of their popularity in 1964–1965. In some ways the group was similar to other garage bands of the period, composing soon-to-be historic workouts such as “Black to Comm” during their mid-teens in the basement of the home of Wayne Kramer’s mother. The music also reflected Fred “Sonic” Smith and Kramer’s increasing interest in free jazz — the guitarists were inspired by the likes of Albert Ayler, Archie Shepp, Sun Ra and late period John Coltrane, and tried to imitate the ecstatic sounds of the squealing, high-pitched saxophonists they adored. The MC5 even later opened for a few U.S. midwest shows for Sun Ra, whose influence is obvious in “Starship”. Kramer and Smith were also deeply inspired by Sonny Sharrock, one of the few electric guitarists working in free jazz, and they eventually developed a unique interlocking style that was like little heard before: Kramer’s solos often used a heavy, irregular vibrato, while Smith’s rhythms contained an uncommon explosive energy, including patterns that conveyed great excitement, as evidenced in “Black to Comm” and many other songs.
[Inspired by Jesper Nielsen and Patrick Bird in London - dedicated to Allan Vegenfeldt in Copenhagen and Mogens Toudahl in Berlin]
Following his very well received ‘Entropy’ 12″b, Etienne Jaumet further indulges his passion for pure synthscapes on ‘Night Music’, a sheer pinnacle of elegant Paris-meets-Detroit moods featuring mix and production assistance from Carl Craig. Outside of his work for Zombie Zombie and numerous collabs with everyone from Daniel Johnston to Lou Barlow, this is the place where Etienne invokes the spirits of Schulze, Carpenter or even Reich, especially so on the opening epic ‘For Falling Asleep’. Taking 20 minutes to reach its goal, Jaumet crafts a constellation of decaying astral plumes, wistful sax and mesmerizing but gently insistent machine rhythms with the mix “Directed and imagined” by Carl Craig. Lush stuff. New track ‘Mental Vortex’ revolves again around rich analog bass arpeggiated into the distance while spooky moog motifs reminscent of Wendy Carlos zoom into view, and the brilliant ‘Entropy’ makes another appearance. ‘Through The Strata’ sounds heavily like Carl Craig working with an Eastern European Klezmer band, while the closing stage of ‘At The Crack Of Dawn’ could surely be some missing incidental music from a directors cut of ‘Escape From New York’. Excellent. [Source]
As if the 20 Years Of Planet E tour wasn’t keeping him busy enough, Carl Craig found time recently to work his remixing magic on inthemix Honour Roll inductees Cut Copy. “Cutters are honored that one of their heroes, the great Carl Craig, has put his hands on Need You Now,” the band wrote. True to form, the Detroit don has remodelled the Zonoscope opener into a deep, resounding techno epic running almost 14 minutes. Listen to it in all its glory below. [Source]
[Dedicated to Christian Friedländer and Morten Vammen]