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Electric Würms are ‘Fixing a Hole’: Exclusive premiere from upcoming Flaming Lips album


 
Electric Würms will be making an appearance on the upcoming Flaming Lips album With a Little Help from My Fwends, their Sgt. Pepper’s Lonely Hearts Club Band tribute. In the guise of their Electric Würms alter egos, Wayne Coyne and Steven Drozd cover “Fixing a Hole” on the album, which comes out on October 28 on Warner Bros. Records. Other participants include MGMT, members of Wilco, Miley Cyrus, My Morning Jacket, Tegan and Sara, Dinosaur, Jr.‘s J Mascis and Maynard James Keenan of Tool.

Some of the proceeds from the album are being donated to the Oklahoma City-based Bella Foundation which helps low-income, elderly or terminally ill pet owners with the cost of their vet bills, because at some point we all might need a little help from our fwends.
 

Posted by Electric Würms | Discussion
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You gotta have ‘Fwends’: Flaming Lips talk Fab Four
08.15.2014
11:15 am

Topics:
Music

Tags:
The Beatles
Flaming Lips
Electric Würms


 
In which Wayne Coyne and Steven Drozd discuss The Beatles’ profound inspiration on the way they work and With a Little Help from My Fwends, their upcoming song-for-song tribute album covering Sgt. Pepper’s Lonely Hearts Club Band.

Heavy “fwends” who’ll collaborate with the Lips include Miley Cyrus, My Morning Jacket, Tegan and Sara, Dinosaur, Jr.‘s J Mascis and Tool singer Maynard James Keenan. As their Electric Würms alter egos, Coyne and Drozd themselves cover “Fixing a Hole” on the collection.

With a Little Help from My Fwends will be released on Oct. 28 with some of the proceeds from the album getting donated to the Oklahoma City-based Bella Foundation which helps low-income, elderly or terminally ill pet owners with the cost of their vet bills.
 

Posted by Electric Würms | Discussion
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Talking stamps: Tiny vinyl record postage stamps that were playable, 1972
08.15.2014
10:50 am

Topics:
Art
Music

Tags:
records
vinyl
vinyl stamps
talking stamps


 
Known as the “first talking stamps” in 1972, these tiny vinyl postage stamps from Bhutan were totally playable and when the needle was put on the record stamp you heard Bhutan’s national anthem and a capsule history of the nation. Talking stamps were thin plastic embossed records with removable back to expose the adhesive.

A pretty interesting concept, right? I’ve never seen one in the flesh, but from what I’m seeing on eBay, they’re highly collectable (an entire set is around $495.00) and even still legal for mailing use.

WFMU has a few samples of what these tiny vinyl stamps sound like. You can listen to them here.


 

 

 

 
via WFMU and Bhutan Today

Posted by Tara McGinley | Discussion
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Blank slate: Hundreds of ‘White Albums’ take up residence in LIverpool art gallery
08.15.2014
06:59 am

Topics:
Art
Music

Tags:
The Beatles
White Album
Rutherford Chang


 
Dismissing claims by critics that the Beatles’ sole LP from 1968 would have worked better had the songs been curated into a tighter, single-disc release, Paul McCartney commented: “It was great. It sold. It’s the bloody Beatles’ White Album. Shut up!”

Amen to that. I’m a “late Beatles” guy, and, for me anyway, The White Album is utterly central to the Beatles’ allure. Artist Rutherford Chang appears to be a “late Beatles” guy too, and he’s making a decent bid to be regarded as the world’s number-one fan of The White Album and its decidedly minimalist cover by Richard Hamilton. He’s been buying up as many first pressings of the album as he can (the first pressing numbered more than three million). He now owns more than 1,000 first pressings of it, which he exhibits in spaces that are set up to resemble record shops: you can flip through the “inventory” just like at any record shop, and you are permitted to play any of the albums there on the provided record player. Unlike a record shop, however, the relation of consumer to establishment is reversed: You cannot buy anything there, but you can sell a first pressing of The White Album if you have one. The show is called “We Buy White Albums.”
 

 
Chang has exhibited the always-growing collection of albums for the last couple of years. “We Buy White Albums” has appeared in several locations in the United States as well as Shanghai, Denmark, and Ireland.
 

 
Last year, from January to March,  “We Buy White Albums” was exhibited at Recess, 41 Grand Street, New York. I was a resident of New York City during that time, but unfortunately I was out of town the entire period this show was on. I wish I’d been able to see it. Eilon Paz of Dust and Grooves interviewed Chang during that show, and it richly merits its status as the essential Rutherford Chang/White Album interview. Here are a few excerpts:
 

Q: Are you a vinyl collector?

A: Yes, I collect White Albums.

Q: Do you collect anything other than that?

A: I own some vinyl and occasionally buy other albums, but nothing in multiples like the White Album.

Q: Why just White Album? why not Abbey road? or Rubber Soul?

A: The White Album has the best cover. I have a few copies of Abbey Road and Rubber Soul, but I keep those in my “junk bin”.

Q: Why do you find it so great? It’s a white, blank cover. Are you a minimalist?

A: I’m most interested in the albums as objects and observing how they have aged. So for me, a Beatles album with an all white cover is perfect.

Q: Do you care about the album’s condition?

A: I collect numbered copies of the White Album in any condition. In fact I often find the “poorer” condition albums more interesting.

-snip-

Q: Are you collecting as an artist or as a music fan?

A: I’m collecting them as cultural artifacts.

Q: Do you listen to vinyl records on regular basis?

A: I listen to the White Album every day.

-snip-

Q: I’m trying to figure out if you’re a vinyl collector, or a music aficionado or an artist making an art piece with an object that happens to be a Beatles White album? Can you expand on that?

A: I’m making an art piece using White Albums as material. But the process also very much involves collecting vinyl and listening to music.

Q: Do you buy records other than the White Album for your art project?

A: I occasionally buy other records, but I don’t consider these part of my collection. I “collect” only White Albums.

Q: How did you come up with the idea of collecting first edition white albums? and why just first editions?

A: I got into collecting multiple White Albums because every copy tells a story. Each one has aged uniquely over the course of the last half-decade. The pressings from 1968 were numbered, implying that it is a limited edition, although one running in excess of 3 million.

 

 
Today, August 15, 2014, the show opens in England for the first time. Fittingly, the location is the birthplace of all four Beatles, Liverpool: “Presented by FACT and Liverpool International Music Festival, We Buy White Albums will take over FACT’s loading bay space on Wood Street from 15 August – 16 September.” On August 28, at 6pm, Chang will be on hand for a Q&A with FACT director Mike Stubbs.

The true subject of “We Buy White Albums,” it seems to me, is entropy, albeit entropy in the highly pressurized environment of the mass music marketplace. Issue more than three million albums with an almost completely white cover by the world’s favorite rock and roll band and see what happens. Things will happen to them, they will inevitably diverge from one another. The records will get scratched and warp, the covers will get water-damaged, the creamy, inviting white cover will become the home for doodles and graffiti. Chang revels in the strange forms the White Album can take, more than 45 years after its release. Anyone who’s spent any time plundering LP bargain bins can surely relate.

In that vein, Chang has also released a track in which 100 of his White Albums are played simultaneously (side 1 only, alas). The music starts off pretty much in sync; you can hear “Back in the USSR” just fine but the divergence soon sets in with a vengeance. As Allan Kozinn writes:
 

The albums, as it turns out, have also aged with some variety. Some played cleanly, others had scratches, noise from embedded dirt, or vinyl wear. And though the recordings are identical, variations in the pressings, and natural fluctuations in the speed of Mr. Chang’s analogue turntable, meant that the 100 recordings slowly moved out of sync, in the manner of an early Steve Reich piece: the opening of “Back in the U.S.S.R.” is entirely unified, but at the start of “Dear Prudence,” you hear the first line echoing several times, and by “While My Guitar Gently Weeps” the track is a nearly unrecognizeable roar.

 
For me, the high point—by far—is “Wild Honey Pie.” Enjoy.
 

 

Posted by Martin Schneider | Discussion
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The time John, Paul, George and Ringo took a ‘trip’ to buy a (fascist) fantasy island
08.15.2014
06:38 am

Topics:
History
Music

Tags:
The Beatles
Magic Alex

gree67beat.jpg
 
The Summer of Love 1967: John Lennon was tired of Britian, tired of living a life in public, tired of the relentless clamor of fans, and the dreary British weather.

The Beatles had stopped touring in 1966 and were now focusing their energies on being a studio band. Lennon wanted some peace and quiet—somewhere he could have a life of privacy.

At a meeting The Beatles held to discuss plans for their next film The Magical Mystery Tour in July 1967, Lennon raised the suggestion of the band buying a Greek island for them all to live on. As Lennon said at the time:

We’re all going to live there, perhaps forever, just coming home for visits. Or it might just be six months a year. It’ll be fantastic, all on our own on this island. There some little houses which we’ll do up and knock together and live communally.

They would build four villas on the island to provide accommodation for The Beatles and their families. An entertainment complex and a recording studio would be built in the middle, and there would also be homes for staff and friends.
 
beatles67.jpg
 
Amusingly, the idea may have been inspired by Gerry Anderson’s kids puppet series Thunderbirds, where the fictional Tracy family lived on a specially altered island from which they operated. The Beatles had lived together before when learning their trade in Hamburg, and of course, memorably on screen in Help!, where they shared a home in four connected houses.

According to Beatles publicist Derek Talyor in his autobiography 20 Years Adrift:

The four Beatles would have their network at the centre of the compound: a dome of glass and iron tracery not unlike the old Crystal Palace over the mutual creative/play area, from which arbours and avenues would lead off like spokes from a wheel to four vast and incredibly beautiful separate living units. In the outer grounds, the houses of the inner clique: Neil (Aspinall), Mal (Evans), Terry (Doran) and Derek, complete with partners, families and friends…

Lennon may also have been talked into it by Yanni Alexis Mardas, better known as Magic Alex, the Greek electronics whizzkid who impressed Lennon with his Kinetic Light Sculptures at the Indica Gallery. As Paul McCartney later said in a biography by Barry Miles’ Many Years From Now:

Alex invited John on a boat holiday in Greece, and we were all then invited. There was some story of buying a Greek island or something. It was all so sort of abstract but the first thing we had to do is go to Greece and see if we even liked it out there. The idea was get an island where you can just do what you want, a sort of hippie commune where nobody’d interfere with your lifestyle.

I suppose the main motivation for that would probably be that no one could stop you smoking. Drugs was probably the main reason for getting some island, and then all the other community things that were around then… it was drug-induced ambition, we’d just be sitting around: “Wouldn’t it be great? The lapping water, sunshine, we’d be playing. We’d get a studio there. Well, its possible these days with mobiles and…” We had lots of ideas like that. The whole Apple enterprise was the result of those ideas.

The plan was serious enough for Alex to strike a deal with Greek government giving The Beatles diplomatic immunity—this allowed the band to carry drugs into the country. As part of the deal to obtain diplomatic immunity, the Fab Four had to pose for pictures for the Ministry of Tourism, this was arranged without the band’s knowledge.
 
greecearrivaljpjj1.jpg
 
greecebeatlesrgjp.jpg
 

 
H/T Beatles Bible & All Things Beatles
 
More fantasy island and Beatles holiday snaps, after the jump…
 

Posted by Paul Gallagher | Discussion
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Listen to ‘Transform!!!’ Electric Würms’ wild cosmic jam, exclusive premiere
08.14.2014
12:23 pm

Topics:
Music

Tags:
Wayne Coyne
Electric Würms
Steven Drozd


 
Today’s track premiere from Electric Würms’ Musik, Die Schwer Zu Twerk (“Music that’s Hard to Twerk to”) is “Transform!!!”

Electric Würms is the side project of Flaming Lips multi-instrumentalist Steven Drozd and Wayne Coyne (who steps away from his normal frontman role here and plays bass) working with Nashville-based psych-rockers Linear Downfall. It’s a spacey, raw cosmic jam that Pitchfork called a “Live-Evil-era Miles (by way of Yoko Ono’s Fly) psych-funk shriek.”

Musik, Die Schwer Zu Twerk comes out on CD, vinyl and iTunes via Warner Bros. Records on August 19th.
 

Posted by Electric Würms | Discussion
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‘Prog Is A 4 Letter Word’: Exclusive Flaming Lips prog rock playlist


 
Enjoy this exclusive mix compiled for Dangerous Minds readers by Wayne Coyne and Steven Drozd of The Flaming Lips.

Prog Is a 4 Letter Word

“South Side of the Sky” - Yes
“Siberian Khatru” - Yes
“Knife Edge” - ELP
“Watcher of the Skies” - Genesis
“Archangel Thunderbird” (proto prog-punk) - Amon Düül II
“Darkness” - Van der Graaf Generator
“Yours Is No Disgrace” - Yes
“Cygnus X-1 book 1” - Rush
“The Inner Mounting Flame” - Mahavishnu Orchestra
“Thick As A Brick” - Jethro Tull

The pair’s Flaming Lips sideproject, recorded as Electric Würms with Nashville-based psych-rock band Linear Downfall, is called Musik, Die Schwer Zu Twerk. The EP is comes out on CD, vinyl and iTunes via Warner Bros. Records on August 19th. Later today we’ll premiere the Miles Davis-influenced track “Transform” from the new release.
 

 

Posted by Electric Würms | Discussion
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‘Mission: Impossible’ vs ‘Norwegian Wood:’ the world’s first mashup, 1968


 
There was a time I would have gone to the mat in defense of the idea that the first ever mashup release was 1996’s “Whipped Cream Mixes” single by Columbus, OH’s Evolution Control Committee, a marvelous collision of Public Enemy a cappella tracks with music beds by Herb Alpert and the Tijuana Brass. If you don’t know them, my God, take a few minutes out of your life to properly dig some awesomeness:
 

 

 
Though that single is an acknowledged influence on the UK bootleg scene, I was mistaken in my Ohio-proud belief that the ECC invented the now-standard “Band vs Band” form. But I was educated. By the graces of Regretsy creator April Winchell’s amazing MP3 share page, I was alerted to the existence of composer/arranger Alan Copeland’s 1968 work “Mission: Impossible Theme/Norwegian Wood,” whereon Copeland’s chorus sang the lyrics to the Beatles’ “Norwegian Wood” over an orchestral performance of Lalo Schifrin’s indelible theme music from the secret agent TV series.
 

 
Copeland was already known for his work in The Modernaires, and on television with Your Hit Parade and The Red Skelton Show when ABC records released his weird hybrid as a single. That single won a Grammy award in the Best Contemporary Pop Performance, Chorus category. According to several sources I’ve found, The Alan Copeland Singers actually performed “Norwegian Wood” on the Skelton show, but frustratingly, I can find no indication of whether it was performed with the “Mission: Impossible” music, nor can I find any video of the appearance online. Frankly, for a Grammy-winning major label single, the tune is an elusive motherfucker. The 7” photo above is of my copy—can you make out the 98¢ price sticker? The idea of finding it that cheaply nowadays is, um, wishful. (To be clear, I paid way, WAY less than the eBay seller at that link is asking—no 7” is worth a shopping cart full of groceries.)

The song resurfaced in 1997 on a compilation from Rhino Records (naturally!) called Golden Throats 4: Celebrities Butcher the Beatles, a comp that is itself out of print and rare now. I managed to find it on Grooveshark, but that site’s embeds evidently don’t work on mobile devices, so for readers who browse DM on a phone or tablet, I’ve also included a YouTube link to a faithful cover version, by an Australian vocal group called the Unisounds. Somehow, you will hear this song, dammit.

Per IMDB, Alan Copeland is still living, and teaching choir in Berkeley, CA.
 

Mission Impossible Theme Norwegian Wood by Alan Copeland Singers on Grooveshark

 

 
Previously on Dangerous Minds
Led Zeppelin vs Beatles: ‘Whole Lotta Helter Skelter’
Mashup: Donna Summer and Booker T & the MGs: ‘I Feel Love’ / ‘Green Onions’
Beck on the butcher block: Illegal Art’s ‘Deconstructing Beck’
Bunnymen vs White Stripes, Bee Gees vs Killing Joke and more: new mashups from Go Home Productions

Posted by Ron Kretsch | Discussion
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The director of ‘Heavy Metal Parking Lot’ returns with ‘Led Zeppelin Played Here’
08.14.2014
08:45 am

Topics:
Movies
Music

Tags:
Led Zeppelin
Jeff Krulik


 
I’m sure that many—if not most—of our good-looking, high IQ readers have seen quirky documentarian Jeff Krulik’s underground classic “Heavy Metal Parking Lot,” a short movie shot outside a Judas Priest concert in Landover, Maryland that exchanged hands on VHS tapes in the 80s and 90s. Krulik made a sequel with some Neil Diamond fans in that very same parking lot in 1996 and went on the road with McHale’s Navy actor Ernest Borgnine in his customized RV in 1997’s Ernest Borgnine On the Bus. His Heavy Metal Picnic came out in 2010 and now Jeff Krulik returns with a fun new film about a Maryland youth center where Led Zeppelin maybe… might have…. supposedly… (definitely!) performed on their first US tour.

From the director’s statement:

I recently finished a feature documentary called Led Zeppelin Played Here, which is my effort to prove that Led Zeppelin’s first DC area concert was in a youth center gymnasium in front of 50 confused teenagers on a snowy Monday night in January 1969. This whole project came about as I was set to do a film called “Maryland’s Woodstock,” about the Laurel Pop Festival which took place in July 1969, one month before the Woodstock. I wanted to highlight that there was this forgotten pop festival in our area, and basically tell the story of that two day concert, featuring Led Zeppelin headlining one night.

But I soon found a story arc as I connected the dots of Led Zeppelin’s performances: in May, they shared a bill as opening band for The Who at Merriweather Post. And in February they were on an opening slot with Vanilla Fudge at the Baltimore Civic Center. But the real curiosity was their first local concert which was said to have taken place on January 20, 1969 at the Wheaton Youth Center, a non-descript multi-purpose room and gymnasium in a Maryland suburb. And it happened to be the night of Richard Nixon’s Inauguration. And the weather was terrible. And 50 people were there, tops.

But surely this must be an urban legend. Or is it?

What I loved about Krulik’s charming, low key film is that the whole mystery of this did-it-or-did-it-not occur spur of the moment Led Zeppelin show is something that he uncovered while making a film about something else entirely. The Rashomon-like onscreen narrative becomes quite intriguing as the viewer goes along with the filmmaker on his fact finding mission, Krulik serving as a dogged rock snob gumshoe on the trail of this elusive and either legendary—or apocryphal—Led Zeppelin show. In the end, we’re left to decide for ourselves if this concert actually took place or not, his Columbo with a MOJO subscription sleuthing having provided no definitive answers.

I think it did happen, but… but then again I wasn’t there. Like an a riddle, wrapped in a mystery, inside an enigma that had no surviving posters, handbills or even a single photograph (let along a bootleg tape) ultimately we will probably never know if Led Zeppelin played at the Wheaton Youth Center on January 20th, 1969. They only people who know the truth were there, and even some of them aren’t sure.

Led Zeppelin Played Here screens tonight at Cinefamily in Los Angeles as part of the annual Don’t Knock the Rock film festival. Jeff Krulik will be there in person — plus there will be a Q&A moderated by Michael Des Barres of Little Steven’s Underground Garage on SiriusXM. Get tickets here.

Posted by Richard Metzger | Discussion
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Wayne Coyne and Steven Drozd: Musing on Miles Davis


 
In which our guest editors Steven Drozd and Wayne Coyne of Electric Würms talk about the many unexpected ways in which the great Miles Davis has influenced their own music.

“When you hit a wrong note, it’s the next note that makes it good or bad.”—Miles Davis

Electric Wurms’ Musik, Die Schwer Zu Twerk EP is comes out on CD, vinyl and iTunes via Warner Bros. Records on August 19th. Later today we’ll premiere the Miles Davis-influenced track “Transform!!!”  from the new release.

“Man, sometimes it takes you a long time to sound like yourself.”—Miles Davis

 

Posted by Electric Würms | Discussion
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