always sounds to me like so much of 90s West Coast #HipHop tracks its sound and aesthetic to Roy Ayers. e.g., Dr Dre only sampled this track once, for a Detox track, but I can't help suspecting he took much more from it for his sound.
the "my life, my life, my life" tag was true Cali staple, used by Tupac, Ice Cube, Mc Eiht ("my life, my life, my life, with a tech nine").
Black Flag – "Six Pack" (1981)
7" 45 RPM
Original SST pressing with black & white cover
This class punk anthem reminds me of the initial appeal I found in punk rock and underground music in general. Savage mockery of the worst parts of popular American culture, as it was at the time anyway.
Angry outsiders. The innately anti-authoritarian. These are my people!
Released 43 years ago this month, as @historyofpunkrock noted recently 👊
God Bless The Child by BS&T is a monster. The arrangement is pure genius. Killer horns, hip trumpet and sax solos. You may not have heard it in the last 40 or so years, so give it a spin. #Nowplaying#jazz#vinyl
Various – More Coffee For The Politicians (Phoenix Underground Music Compilation #3)
Placebo Records, 1985
Regionally focused comps were super helpful back before the internet. Best way to focus on a specific scene.
This one has a nice variety of musical styles. It's #3 in a series from Placebo spotlighting the Phoenix Scene (e.g. "This Is Phoenix, Not The Circle Jerks" and "Amuck").
There's a white paper insert with some Placebo Records and their respective prices listed. It's an order form you'd mail in.
I bought this album in 1970 while in high school, for no other reason than I was mezmorized by the cover art, and heard that Miles is hip and I should be listening to him. At the time, I didn't get it and shelved it for years. It took being exposed to much more music to understand what genius is contained on these disks. So much history and influences are amalgamated into this music. #jazz#afro#rock#freejazz#milesdavis#BitchesBrew#nowplaying#vinyl
Ambition can consume a band, and this sprawling, beautiful pop masterpiece ate Tears for Fears (along with four years, four producers, numerous sidemen [including Phil Collins and Pino Palladino] and a lot of money).
It’d be 15 years before Orzabal and Smith would work together again (on the great Everybody Loves a Happy Ending), so no doubt the process was painful.