Christmas in February – Loads of New Content from Fred Deakin!

Fred Deakin is best-known as half of the playfully eclectic downtempo duo Lemon Jelly, as well as one of the founders of the enormously successful and innovative design studio, Airside.

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Airside’s client base included Coca-Cola, D&AD, EMI, Greenpeace, Live Earth, Mastercard, MTV, Nike, Panasonic, Sony, Visa, Vodafone, the Pet Shop Boys and The Beatles and their iconic style is instantly recognizable.

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Deakin also founded Impotent Fury, Lemon Jelly’s own label, (which was also the name of an infamous club night run by Fred where the music genre was chosen by the spin of a wheel.) The label issued 46 official releases plus a few non-label deluxe custom-packaged boots due to uncleared samples issued with Fred’s telltale typeface. These boots have since become highly-sought-after collectibles among Jellyheads.

The first was 2001’s Soft/Rock, a 7″ blue vinyl single in a screenprinted modified denim sleeve constructed from pairs of jeans with a flavored condom in the pocket. The single was limited to 1,000 copies, 15 of which featured hand embroidery by Laura Lees. The singles contained uncleared samples by Chicago and Black Crowes, hence the private release.

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Then in August of 2003, another self-release surfaced titled Rolled/Oats. The single was spray painted gold and screenprinted once again with the classic Jelly font and housed in a hessian (burlap) sleeve. “Rolled” samples “Feel Like Making Love” by Bad Company and is based on “The Curse Of Ka’zar” from their Lost Horizons double LP. “Oats” uses elements of “Closer” with a sample of George Michael’s “Heal The Pain”.

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Lemon Jelly initially issued three EPs, later collected on the beautifully-packaged lemonjelly.ky double LP in 2000.

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This was followed by their debut full-length LP, Lost Horizons in 2002. Each album featured striking packaging design named among countless “greatest album art” lists as well as being featured in Grant Scott’s book, The Greatest Album Covers of All Time. Both of these releases showcased the duo’s spirited, whimsical, and ultra-chilled downtempo style.

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In 2005 a box set of four 10″ LPs was issued titled ’64-’95, with each track prefixed with the year of the sample incorporated into the single. The album is rather different from their previous two releases in that it has a darker sound and is influenced by more modern sounding music. To avoid confusion over the matter, the band included a sticker on the sleeve stating, “This is our new album, it’s not like our old album.” The album closer, “Go” featured vocals by William Shatner.

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Fred also produced over one hundred mixes and DJ sessions during and after his time with Lemon Jelly, many of which were featured by BBC 6 Music and the Breezeblock. Each set seamlessly wove together deep cuts and musical oddities of Balearica, funk, hip hop, soul, dub, reggae, swing, and an array of leftfield oddities which always kept the listener engaged and guessing as to what was around the next sonic corner.

An official release of this nature was eventually issued in 2007 by Impotent Fury – Fred Deakin Presents: The Triptych, a three-CD set of everything from folk rock to break/broken beat, jazzdance, country, deep and Euro house, neo-soul, gospel, and more.

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And the following year, a two-CD set premiered titled Nu Balearica packed with Balearic Beat and Nu-Disco choons.

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I spent the early 2000s compiling about one hundred and ten of the various mixes and sessions Fred had touched, right down to the demo cassette he’d recorded in the late nineties when running the club Impotent Fury. And in 2011 and 12 Fred resurfaced under the pseudonym Frank Eddie (once again due to uncleared samples) and issued five limited 7″ singles in geometrically designed screenprinted sleeves.

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The complete set was issued as a CD album called, Let’s Be Frank in 2012.

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Fred also applied the Frank Eddie moniker to a special remix of English boy band, East 17’s “Stay Another Day” for a heartwarming farewell music video to mark the retirement of their Airside design company. A gorgeous 296pp coffee table book, Airside by Airside was published by Gestalten telling the story of their evolution and is certainly on my wish list for this year.

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This project tapered off after the Jellyhead forum went dormant and things quieted down for a few years, until a few days ago when, on a whim, I revisited Fred’s page on Rateyourmusic.com. There I noticed a curious title I’d not previously encountered – Come Dance With Me Sweetheart dated 2016. I did a little searching around and by the day’s end, (thanks to a fellow Jellyhead who has been archiving all Lemon Jelly material from the source tapes for nearly two decades), had 19 additional DJ sessions which had surfaced since I’d last stopped collecting. It was like Christmas! I quickly assembled a 25-hour playlist of all the new-to-me Jelly content and am having a blast exploring it all!

And revisiting The Triptych, I began to research the deeper cuts from the mix and found one funky track, Billy Hawk’s “O’ Baby (I Believe I’m Losing You)” appears on a sublabel comp of BGP (Beat Goes Public) Records. The label has issued three series that look worth a listen.

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Super Breaks is a set of six double LPs and albums showcasing essential funk, soul, jazz samples, and breakbeats. There is also the SuperFunk series of twelve releases and a third set of four albums branded as Funk Soul Sisters. These might be just what I’m after for more deep cuts.

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Another of my favorite classic Jelly mixes, Breezeblock – 20th September 1999, includes the Public Enemy / Herb Alpert mashup, “Rebel Without A Pause (Whipped Cream Mix)” which a quick search revealed was by The Evolution Control Committee, Mark Gunderson’s plunderphonics project. Mark collaborated with The Bran Flakes on the Raymond Scott Rewired project issued by Basta Records which I absolutely must check out, along with a deeper exploration of other related artists like Emergency Broadcast Network, Escape Mechanism, The Tape-beatles, as well as my complete archives of the works of Negativland, John Oswald, and selected works from People Like Us (who collaborated with Matmos and Wobbly).

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It’s truly remarkable to live in a time when a few simple Google searches yield days of rewarding listening. Here’s my Lemon Jelly and related album collection to date, in addition to the 129 digital albums and DJ sessions I’ve collected that are so generously shared among fellow Jellyheads.

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Attack of the 50 foot Mixtape

It’s been an intense week of genre-hopping and crate digging, (over 50 new albums in all) and I’m just going to lay it on you.

The most exciting find is easily the new Paul McCartney 12″ bootleg – Balearic Rarities.  Comprised of Paul’s forgotten 80s experiments with dance music and what might be labeled as early techno, it’s a far cry from the McCartney we know and love.  Similar tracks appeared on an older double LP bootleg titled, The Lost McCartney II Album.  Here’s “Check My Machine.”

Another bootleg I found was from Beck around the Midnight Vultures era which includes a Bruce Haack cover.  If you’ve never listen to Bruce, check out Electronic Lucifer and The Way Out Record for Children.  You may remember the clips of Haack’s appearance on Mr. Rogers’ Neighborhood which I featured on my old blog.

Along the same vein as Beck’s idiosyncratic musical styling, I’ve finally completed my Cornelius discography, consisting of 36 albums, singles and EPs.  Cornelius has often been tagged as “the Japanese Beck.”  Here’s a classic favorite, “Star Fruit Surf Rider” from his Fantasma album, which Matador records released as his American debut.

Also lovin’ new tunes from It is Rain In My Face, (the solo work of Matt Jones from Brooklyn.)  Delicious chillwave.

If you’re into lo-fi/bedroom pop like the tune above, mark your calendars for July 5th.  Trevor Powers aka Youth Lagoon will be releasing his first 10″ album and from the free singles he’s posted on the Web, it’s one to watch for.  Check out “Cannons.”

I can’t say enough wonderful things about Jimmy LaValle’s solo project.  Jimmy was originally the guitarist for Tristeza, but over the last 12 years he’s toured and released a number of albums as The Album Leaf.  In a Safe Place was recorded in Sigur Rós’ Sundlaugin studios with the help of Jón Þór Birgisson (of Sigur Ros) and Joshua Eustis (of Telefon Tel Aviv).  His song “Micro Melodies” appeared in the documentary film, Moog – a must-see for all analog synthophiles.

The Album Leaf’s earliest recordings were similar to Brian Eno’s Music For Airports.  Over the course of the next few releases, he ventured further into ambient post rock territory.

In early 2010, The Album Leaf released A Chorus of Storytellers, this time with a full band.  Like his past efforts, Storytellers is comprised almost entirely of instrumentals.  Still, “Falling From the Sun” is a song which dispels any notion that lyrics might impede upon his near-perfect formula for songwriting.

Then there are those quazi-novelty records that I buy more for the cover art than anything else.  Funky Entertainment was a flea market find, the last hurrah from the 70s disco funk band, Brainstorm.

It turns out Soul Coughing wasn’t the first band to use a 50s girl in a space suit for album art.

You may have seen Tara Busch’s videos on Youtube.  You may also know her from Analogsuicide.com. Tara is best known as “the chick on the Web who sang ‘Somewhere Over the Rainbow’ backwards.”

The Crazy CD packaging of the year award goes to Tara for her limited edition Pilfershire Lane box set. The CD comes with a stainless steel pop up model, interchangeable face plates, a recordable circuit, Polaroid 600 photo, and a splice of 16mm film.  Check out the assembled model in the clip below.

One last spaced-out treat for you, courtesy of goldenrecord.blogspot.com.  Listen to “Hang On Sloopy” by The Brooks Arthur Ensemble Featuring Kenny Karen released in 1971.  Golden Records likened it (quite accurately) to the bands Suicide and Spacemen 3.  I could easily see J Spaceman performing this live!

Brooks Arthur Ensemble – Hang on Sloopy 1971