How can you not know my address? You've been to my damn house.
Ah crap! It is the 10th! This week's been way too busy since returning from London to finish my mix.
Is the mysterious Alameida at least willing to give us an idea of what sort/genres of music she used for the mix?
I haven't moved, ben. My life is static. Thanks for reminding me (and thanks for the music!).
If people are sending their mixes internationally, they might want to know that music CDs and data CDs are priced at different rates. So they'll either need to pay a lot for shipping or be prepared to commit mail fraud.
Since making a mix always prompts new thoughts about the music, here are some notes about specific tracks on my mix.
My overall goal was to produce a mix that rocked as much as my, decidedly non-rocking, tastes allowed, and I'm quite happy with how it turned out. Several of the songs will be quite familiar, but others will be less so, and the familiar ones are quite worth hearing again.
I did cheat somewhat with the final two tracks, which fit the spirit of the mix, but didn't fit well in the sequence, hence the pause before those tracks.
By track number:
1) The obligatory "track that I presume nobody else has heard." About the all too common experience of getting a bunch of friends together
to form a band, rehearsing, making a demo tape that is just good enough to get a show at a local bar, playing the show, and then the band never getting together again. A friend of a friend, who's been in at least five bands in the time I've known him, said of this song, "that is my life."
3) Proof that Blondie could, in fact rock. I was convinced by George Starostin's reviews that Clem Burke, the drummer for Blondie, is one of the great pop drummers of the era but, in most of their recordings, you have to work to pick out the drums. They're at least slightly more forward in this performance.
6) Your daily dose of class anger. I was inspired to include this song, in part, by the recent David Runciman article in the LRB about the narrow range of backgrounds that comprise the bulk of the british political class. British pop music is often much more explicitly class conscious than American pop music.
From songfacts, "Paul Weller was inspired to write this song by a news article that he read about unemployed demonstrators on a "Right to Work" march, a campaign initiated by the left wing Socialist Workers Party, passing the prestigious Eton College. The "Eton Rifles" are a cadet corps of Eton College, and the song itself is about the rivalry between boys at Eton and the neighboring working class schoolboys. Paul Weller himself attended Sheerwater Comprehensive school, which was located quite close to Eton."
7) This is for anyone who thinks that Brazilian music is too laid back and polite. It's a recording from a festival in 1968, shortly before Caetano Veloso was exiled from the country for being critical of the junta. I have no idea what, exactly, is going on between him and the crowd (and I'd love it if someone who knew Portuguese could translate), but he's obviously in an intense and fearless emotional state.
10) See this comment
The track for which my affection increased the most over the process of repeated listenings is track 6, Eton Rifles, one that I liked, but didn't know that well before including it on the mix.
How can you not know my address? You've been to my damn house.
If he's anything like I am, it's because while he'll still be able to find that house in 20 years, he'll never remember the address. Ever.
My mix is mysterious because it's (still) not finished (but will be by the end of the weekend), but I can promise at least one track by me and a friend of mine, along with a bunch of stuff that's actually pretty good.
I could send out mixes of avant-gard jazz. I've already promised w-lfs-n one. I will probably be slow because of a hardware problem.
The mix will be selected from this link:
http://www.idiocentrism.com/favorites1.htm
This is 2 1/2 CDs, so I'd probably send out enough of the shorter and the less-known pieces to fill 80 minutes. Requests are solicited.
LB, you can promote this to the main page.
Proof that Blondie could, in fact rock.
I didn't think that there was ever any doubt on that point.
I have a hankering to combine avant-jazz, noise, and dance-pop on a single CD and try to offend as many sensibilities as possible.
basically I have a few mixes: the main one is rare groove/deep funk, but maybe you can't handle the sleazy vibe, so you'd rather have a more straight-up funk and soul mix? or I could bring the powers of randomness to bear, with my extra random mix.