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Wild Gospel frenzy takes down the Playboy Mansion!
07.30.2014
10:57 am

Topics:
Hysteria
Music

Tags:

lugf/
 
This never fails to bring a smile to my face and raise the hairs on the back of my neck! It’s The Clara Ward Singers performing on the Playboy After Dark TV show shot at the Playboy Mansion in 1968. By this time minds were open and everyone was exploring anything they could experience that was new. The Clara Ward Singers were always wild, and I mean just as wild as any rock ‘n’ roll insanity from ANY era. They could stand up to Little Richard or James Brown in their prime. This clip looks like it could have been taken straight out of an early John Waters film! The incredible, over the top style and the mile high wild wig-hats are just beyond.

But then there’s the singing and the deranged dancing of lead vocalist Malvilyn Statham! Her name alone makes your eyes cross.This just makes me as happy as can be.
 
cmxlsl
 
Here’s what was written by the person that posted this who evidently was fiends with the Singers:
 

Ezekiel 37: 1-14

My favorite female Gospel group, the Clara Ward Singers, with my friend, Malvilyn Statham on lead, singing Clara Ward’s arrangement of “Dry Bones.” Go’head!! This song refers to what happens in the 7th verse of Ezekiel 37.

In the green dress is Clara Ward (1924-1973), which is why she is not in “uniform” as many of you have pointed out. She and the group caught lots of hell in the 1960’s and 1970’s for their flamboyant style and people are still talking about them, as I have seen in many of the shares. In spite of your views, whether negative or positive, they have paved the way for many folks today.

They stepped out of the box, b/c they were individuals and many of you today should do the same. Be yourself! People like Tye Tribbett are free with their praise. No boundaries! They praise how they feel. Who are we to judge? The Clara Ward Singers not only ministered in churches, but they sang in concert halls, night clubs, festivals, tv shows, and at the Playboy Mansion, which is where this clip was recorded. They were not ashamed to take the Gospel to the people who wouldn’t come to church. I mean, like, isn’t that what we’re supposed to do? Some folks felt like the group was clowning, but I’d like to think of it as giving “unfamiliar” people a good church experience.

 

 
dfgjcdhshdfk
 
If you want more, there’s tons of it on YouTube and elsewhere on the net. Here’s another, much earlier, favorite:
 

Posted by Howie Pyro | Discussion
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Christian televangelists listen to ‘Stairway to Heaven’ *forwards* hilarity ensues!
07.30.2014
10:14 am

Topics:
Amusing
Belief
Hysteria
Kooks
Music

Tags:
Led Zeppelin
SATAN


 
Oh, this is too funny. Evil genius YouTuber Clemtinite took old footage from the Trinity Broadcasting Network with televangelists Paul and Jan Crouch—the Christian duo are trying to find satanic messages by playing the Led Zeppelin classic “Stairway to Heaven” in reverse—and then reversed the whole video. “Turn me on dead, man!”

The longer it goes on, the funnier it gets.

 
via Laughing Squid

Posted by Tara McGinley | Discussion
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Legendary Fripp & Eno concert from 1975 will finally see official release
07.30.2014
07:34 am

Topics:
Music

Tags:
Brian Eno
Robert Fripp
bootleg
Malcom LeGrice


 
Robert Fripp’s web presence, Discipline Global Mobile, has announced that an oft-bootlegged Fripp/Brian Eno show recorded in Paris in 1975 has been mixed and mastered to the best possible quality, and pre-orders are now being taken by Amazon, Inner Knot (US), and Burning Shed (UK/Europe).

Hearing the tapes in fully restored audio quality, it’s easy to understand why it attracts such reverence now and perhaps, why the shows attracted such hostility then. No Roxy Music hits, No King Crimson riffs, just a duo sitting in near darkness with a reel to reel tape recorder, improvising over the pre-recorded loops with a filmed background projection. Replace the reel to reel machine with a couple of laptops/iPads/sequencers and the core of much current live performance from electronica to hip-hop was there some thirty years in advance. At the time, audiences responded to such a glimpse of the future with booing, walkouts and general confusion.

Thanks to the discovery and restoration of the original backing tapes, it was possible - with much painstaking restoration work by Alex Mundy at DGM - to isolate, de-noise and match the live elements from the performance tapes to the studio loops to produce the final recording.

 

 
An article by Frippertonics archivist Allan Okada (OK, you know, “Dangerous Minds Contributor” is a damn cool title, I won’t lie, but “Frippertronics Archivist” sounds like a mighty sweet gig, too…) describes the concert itself thusly:

Fripp just recently disbanded King Crimson at a point which many would describe as their artistic pinnacle. Eno also recently parted ways with Roxy Music at a similar juncture and then aborted his first and only extensive solo tour after only a handful of shows, due to a collapsed lung. Fripp & Eno live in concert? What would they do? All the shows in Spain and France were, not surprisingly, accompanied with unrealistic fan expectations, hoping for a presentation of ‘21st Century Schizoid Man’ combined with ‘Baby’s on Fire’ perhaps? What this audience got was something entirely different. The programme was largely improvised and totally instrumental. Adding to the event’s unorthodoxy was the absence of all conventional stage lighting. The sole illumination was provided by Malcolm LeGrice’s colour saturated and looped short film ‘Berlin Horse’ projected behind the two shadowy figures on stage, visually mimicking the music. The result was an unprecedented live performance format, years ahead of its time. It was also mind-boggling to most of the unsuspecting 1975 audience, yielding wildly different reactions. Reportedly about half the shows on this tour were also plagued with some sort of major technical hazard, stemming from the venue, the PA or the duo’s stage equipment. In Saint-Étienne, the audience went as far as booing the duo off the stage! Fortunately for us here, this Paris Olympia performance was technically flawless and from a musical standpoint, incredibly inspired.

You can judge the show’s level of inspiration yourself—as mentioned above, bootlegs have been around forever, and they are of course on YouTube. See what you think.
 

 
The trance continues after the jump.

Posted by Ron Kretsch | Discussion
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United States of Jedi: Liam Lynch vs. ‘Star Wars’
07.30.2014
07:24 am

Topics:
Amusing
Movies
Music

Tags:
Star Wars
Liam Lynch

lynchjedi.jpg
 
It’s possibly the anticipation of the next Star Wars movie that’s brought this mash-up from circa 2007 back into the ether. Whatever…is generally how I feel about the series of Star Wars movies, which is maybe why I quite like this mash-up of Liam Lynch’s “United States of Whatever” with sample dialog from Star Wars.

Some of you will remember a similar mash-up between Lynch and Darth Vader’s “Noooooooooooo!” back in 2011, but this one has the edge.

It comes via Bootie Dragon, who has a variety of similar mash-ups over on Sound Cloud, along with a rather tasty mix tape that includes samples of Kraftwerk, William Burroughs, Doctor Who and The Beastie Boys all dovetailed together.
 

 

 
H/T Nerdcore
 

Posted by Paul Gallagher | Discussion
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Dean Wareham covers Joy Division/New Order’s ‘Ceremony’ live on KEXP


 
If not for Galaxie 500’s version of “Ceremony,” I probably wouldn’t like that song all that much.

OK, so while the commenters busy themselves sharpening their claws and crayons to inform me that I’m an idiot who knows nothing of music and should immediately be fired, let’s talk about the song. “Ceremony” was an ill-starred entry into the later Joy Division catalog. No proper studio recording was ever made, so the version most fans know best is the live version on the posthumous JD release Still, from which about half the vocals are AWOL. A different version, culled from a rehearsal tape, appeared on the boxed set Heart & Soul. The vocals are all present, but are largely unintelligible, and there’d never be another chance to get it right, as the group’s singer Ian Curtis took his own life days after that tape was made. I’ve heard that another live version exists, a crummy bootleg of a soundcheck,  but I’m aware of no extant version with Curtis’ vocals clear and complete. (If I’m wrong on that, for the love of all that matters in this shitsack world, post a link, PLEASE.)
 

Joy Division, ”Ceremony,” version from Still
 

Joy Division, ”Ceremony,” version from Heart and Soul
 
The ceremony continues after the jump.

Posted by Ron Kretsch | Discussion
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Buy your own DEVO Booji Boy mask
07.29.2014
08:59 am

Topics:
Fashion
Music

Tags:
Booji Boy
DEVO

Booji Boy
 
You can “pre-order” an authentic Booji Boy mask direct from DEVO, for a cool $125. I’m not sure why it’s pre-ordering when it says on the same page that the item is “in stock,” but whatever.
 
Booji Boy
Booji Boy indulging his curiosity in the “Satisfaction” video
 
Here’s DEVO’s sales pitch:
 

Official Booji Boy mask! Now you can assume the role of the infantile spirit of DEVO as you spread the truth about Devolution. This high-quality latex mask was lovingly crafted by SikRik Masks in Akron, Ohio under the supervision of DEVO, Inc. and Booji Boy. This is the 2nd Version Sculpt Circa 2014. First Version was in a limited edition of 100 and sold out in 2012. Each original mask design is hand sculpted, hand molded, hand poured, hand trimmed and hand painted by SikRik Studios using only the finest materials to deliver the finest independent mask available.

 
The thing I want to do is to buy about twenty of them and mount a really peculiar production of Thornton Wilder’s Our Town.......

Booji Boy in the video for “Beautiful World”:
 

Posted by Martin Schneider | Discussion
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Reverend Horton Heat’s new video ‘Mad Mad Heart,’ a Dangerous Minds exclusive
07.29.2014
07:12 am

Topics:
Music

Tags:
rockabilly
Reverend Horton Heat


 
When his 1990 debut Smoke Em If You Got Em arrived on Sub Pop records, Jim “The Reverend Horton Heat” Heath forged an unlikely audience comprised of tat-sleeved rockabilly fans, people on the front guard of the nascent swing revival, and fans of heavy rock. The tours for the subsequent Full Custom Gospel and Liquor in the Front cemented Heat’s rep for amazing live shows, and he’s been a favorite racket-kicker-upper of the pomade brigade ever since. He functions as a kind of mischievous evil twin to Brian Setzer—like the ex-Stray Cat, Heat draws inspiration from rockabilly, country, surf-rock, and the swing/big-band era, but he’s decidedly and unapologetically less NPR-friendly about it, preferring a raucous, humorous presentation that’s derived as much from punk as honky-tonk. Heat rocks out hard, and is just a metric shitload of fun.
 

 
Heat’s new LP, REV, was released in January to become his highest charting release yet in 25 years, and has been getting generally favorable press, including from Dangerous Minds. His latest video from the album is “Mad Mad Heart,” and we’re pleased to be the first to show it to you.
 

Posted by Ron Kretsch | Discussion
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Men in black: The Stranglers’ BBC documentary about the color black, 1982
07.29.2014
06:42 am

Topics:
Music
Punk
Television

Tags:
The Stranglers


 
In 1982, BBC Southwest aired a short documentary about the color black made by two members of the Stranglers. Singer/guitarist Hugh Cornwell and drummer Jet Black
“were asked to put together a piece about the colour black for an arts programme called RPM,” according to Cornwell’s autobiography.

Around this time, the Stranglers were obsessed with the sinister Meninblack (as they stylized it) legends of UFO lore. They had released their great concept album, The Gospel According to the Meninblack, and changed their names to Hughinblack, JJinblack, Daveinblack and Jetinblack; they were even thinking about changing the band’s name to the Men in Black. Ultimately, these pursuits scared the band shitless.

“We were unearthing very curious connections between UFOs and dark forces,” Cornwell writes in his autobiography, characterizing the period as “disastrous.” “It wasn’t until after we had finished on The Meninblack album and had moved on to working on La Folie, that the misfortunes stopped.”
 

 
Cornwell touches on the BBC documentary in The Stranglers: Song by Song: “Jet and I made a television programme about how the colour black has always been associated with authority. We were doing a lot of research into the Meninblack, but there were certain crucial books that we couldn’t get hold of at the National Library. It just so happened to be the books that related to the connection between the Meninblack, religion and civilisation.”
 

Posted by Oliver Hall | Discussion
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‘Evil’: Aliens, synchronicity and world peace, the world catches up to the outsider sounds of Konrad
07.28.2014
10:14 am

Topics:
Music

Tags:
outsider music
Konrad


 
As for who discovered Konrad, I believe that honor belongs to Mike Ascherman, one of the mostly east coast vinyl collectors who coalesced around their interest in psych records in the early 1980s, gradually expanding the search to embrace all manner of private press and outsider music, psychedelic or otherwise. These were the gold rush days, the early recognition of the primacy of the handmade in records, the handmade cover, the home recorded blast from the fringe.

Without a doubt, psychedelics lend themselves to an atemporal, long view of art. That is to say, taking mushrooms can only improve one’s chances of discovering, ahead of its time, music with something resembling the clarity of hindsight.

The appeal of outsider music seems obvious in retrospect, but hardly anyone in the Reagan era knew or cared about the thing we now call “private press.” The term for artist-financed records made outside the label system for most of the 20th century says it all—in those days it was called a “vanity pressing.”

It wasn’t vanity that compelled Konrad to make his 1982 album Evil, which manages to blend cosmic grandiosity and working class sympathies in equal measure. Konrad ends the record with an plea for world peace sung from outer space, and clearly wants the world to listen to what he has to say, but you never get the sense he actually expects that to happen. He comes off less as an ego tripper than as someone with an impossibly large heart, almost childlike. Once you get past the cover, there’s absolutely nothing menacing about Evil.
 

 
Sometime around 1987, Ascherman found a copy and decided to investigate. He wrote about it in the comments section of a post about Evil at the present day mafioso collector website Waxidermy.

The copy I found in a local NYC store had a business card for the label inserted under the shrink wrap.

I called and spoke to the label owner, Barry Konarik. He was friendly and spoke at length about Konrad’s music, though he told me no personal info about the man. He never really talked about the lyrics, but only about how Konrad was making dance music… To that point, he had only released Konrad’s music (the LP + 2 45s), but waxed poetic about a forthcoming cassette-only release, an album by a nephew of Jim Morrison. He didn’t divulge the nephew’s name or any other info except that it was to be an album of dance music.

It seemed that our conversation always led back to dance music. No info about who Konrad was, why he was dressed in satanic-looking robes or what any of the lyrics meant. Just it was about dance music.

As we wound down, I ordered a box of the LPs and a few of the 45s. At the agreed upon time, a man showed up carrying a box. I asked if he was Barry. He said there was a picture of Barry in the box. The only picture in the box was the photo of Konrad on the cover.

 

 
It would be two decades before anyone else contacted Barry Konarik about his music. No one knew where he was. Aside from Ascherman no one even knew his real name. Enjoy The Experience author Johan Kugelberg obtained a copy from Ascherman in the early 90s and played it for anyone who would listen. Interest snowballed, with copies eventually trading hands for as much as $300 apiece. All the while, people wondered what it all meant. No one knew why the album was called Evil, and no one knew what to make of its fixations on alien intelligence and the importance of synchronicity as described in the track “Only A Matrix.”

Konarik saw the Waxidermy post and on the afternoon of December 23, 2008 did something quite unexpected—he posted his phone number in the comments section and invited fans to “give me a yell and let me know that you are a konvert.”

That posting would change Konarik’s life forever. After a quarter century of carrying a sense of failure and regret not uncommon with artists who thought they might just set the world on fire, pre-Internet—Konarik spent the rest of the day answering the phone and talking to fans and/or people looking for cheap copies to grip and flip.

I was one of the lucky ones who got through, and struck up a relationship with Barry, and eventually was given the chance to bring Evil back into the world and revive Ethereal Sequence. In 2012 I met up with my good friend and album co-producer Niels Alpert in Boise, where Konarik now lives, and shot the video below premiering here at Dangerous Minds.

This is a guest post by Douglas Mcgowan, proprietor of Ethereal Sequence and Yoga Records, and the producer of I Am The Center: Private Issue New Age Music In America 1950-1990. The restored and remastered Evil is out now and distributed by Light In The Attic. The limited edition first pressing includes a bonus 45 of additional tracks.
 

Posted by Richard Metzger | Discussion
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‘March of the Juggalos’ narrated by Morgan Freeman
07.28.2014
08:58 am

Topics:
Amusing
Kooks
Music

Tags:
Juggalos
Morgan Freeman


 
Obviously this video was made from a mishmash of different footage and Juggalo documentaries like American Juggalo. It’s still very funny nonetheless with Morgan Freeman doing the voiceover (and no, Freeman didn’t do the voiceover for this, it’s from March of the Penguins, but it works.)

It seems appropriate to post this today as the annual Gathering of the Juggalos has taken over Thornville, Ohio. Those poor, poor souls who live there. You’re in my thoughts.

The video below is NSFW. You’ve been warned.

 
Bonus: Someone used a GoPro in the pit during Cannibal Corpse’s performance. I’m just tryin’ to give ya feel for the Faygo-chugging festivities. Don’t hate me.

 
via reddit

Posted by Tara McGinley | Discussion
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