Underworld MK1 – The Sire B-Sides

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Another Underworld classic has arrived at Innerspace Labs! “Glory! Glory!” is a single from the Mk1 era before they changed their sound and released their epic Dubnobasswithmyheadman LP.

Their singles from this period were released between 1988 and 1989, and the Sire label singles featuring b-sides not found anywhere else in their catalog were issued exclusively in Germany and Australia.

I’ve researched all 53 variations of these single, compiled a list of all edits and b-sides and have been collecting them for years.

The Sire Singles b-sides include the following:

Glory Glory (7 pressings)

  • Shokk The Doctor
  • Glory! Glory! (Live – Full Length Version) – same as “Glory! Glory! (Live)”

Underneath the Radar (17 pressings)

  • Big Red X
  • Underneath the Radar (Edit)
  • Underneath The Radar (Instrumental Version)
  • Underneath The Radar (12″ Remix)
  • Underneath The Radar (7″ Remix) – 4:43 and exclusive to the Sire ‎– PRO-CD-2942 US CD Promo Single
  • Underneath The Radar (Dub)
  • Underneath The Radar (8:00 Remix) – same as 12″ remix
  • Underneath The Radar (6:00 Dub) – same as “(Dub)”
  • Underneath The Radar (Edit From Shep Petitibone Remix) – 4:40 and exclusive to the Sire ‎– 927 937-7 European 7″ single manufactured in Germany – NOTE: This version has the same runtime as the track listed on Sire ‎– PRO-CD-2942 called 7″ Remix issued as a promo CD in the US and the Discogs entry lists it as being “Edited By – Shep Pettibone.” They are very likely the same track.

Show Some Emotion (7 pressings)

  • Show Some Emotion (Remix)
  • Shokk The Doctor – also featured on some of the “Glory! Glory!” singles

Stand Up (14 pressings)

  • Stand Up (Extended Dance Mix)
  • Stand Up (Edit)
  • Stand Up (Ya House Mix)
  • Stand Up…(And Dance)
  • Outskirts

Thrash (3 pressings)

  • Thrash (Dance Pass)
  • Thrash (Extasy Pass)

Additionally, “Change the Weather” (3 pressings), “I Need a Doctor” (1 pressing), and “Pray” (1 pressing) were also issued as singles but only contained standard A-sides from the two full-length LPs released during the Mk1 era, Underneath the Radar (1988) and Change the Weather (1989).

Of these 53 releases I am missing four tracks –

Underneath the Radar (Edit) – 3:59
Underneath The Radar (7″ Remix) aka (Edit From Shep Pettibone Remix) – 4:43
Thrash (Dance Pass)  – 6:25
Thrash (Extasy Pass) – 5:46

I am actively working on completing the set.

I want to give some praise to Post Punk Monk who has engaged in a similar endeavor with Underworld’s even earlier work as Freur. His (or her) REVO Remastering: Freur/Underworld [Mk I] – Stainless Steel Tears [REVO 036] self-produced remaster compilation is exactly the sort of work I’m tackling.

At the present moment my Underworld collection presently comprises 62 physical releases and artifacts, memorabilia, subway posters, books, prints, magazine articles, DVDs, VHS tapes, etc, as well as 589 digital albums, EPs, mixes, concerts, and other materials. With new material being released every week, they’re showing no sign of slowing down.

(06.30.2019) The KLF – Welcome To The Past (Unedited) [WAV]

The privilege of hearing exclusive private releases can sometimes be the most rewarding and fulfilling musical experiences in an archivist’s life. And so it is with this brand new edit. The history and context of its composition is cryptic and shrouded in mystery, with very few search results on the internet, (I count three in total at the time of this drafting), which make the honor of receiving a copy all the more exciting.

From the very little information available publicly, it seems that this was originally released in an unknown number of exclusive edit singles, (at least 39 as evidenced by what members have compiled and contributed to theritesofmu wixsite at https://theritesofmu.wixsite.com/klf-kommunications/welcome-to-the-past-puzzle). It appears that the new complete(?) cut titled, “Welcome To The Past (Unedited)” was issued June 30th and distributed directly by the artist via private email in WAV format.

One of the previously-issued segments have been filed on Discogs here:
https://www.discogs.com/The-KLF-Welcome-To-The-Past/release/12381982

But the new complete (?) WAV now has an entry of its own:
https://www.discogs.com/The-KLF-Welcome-To-The-Past/release/13822393

The WAV’s Discogs entry sheds little additional light on this mysteriously wonderful release. It has what appears to be placeholder artwork as I’ve found no record of official art for the track, but the Discogs entry does provide a few other pieces of information.

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First, it confirms the total run time of the track to be 41:47 (corroborated by the WAV file I received), and bears the style tags of “ambient,” “synth pop,” and “trance.” It also offers a catalog number as part of the unofficial (but intensely professional) series, with this entry marked as “KLF 000RE.”

Distribution is denoted as UK and Europe, but with my understanding that this was a non-physical digital release issued via email I would say that the UK and Europe designation serves more a point of origin rather than an official region for the release. (I am in the US.)

But on to the track itself. The KLF Recovered & Remastered series is infamous and highly-prized for good reason, with several titles outshining even the original incarnations by Bill and Jimmy, themselves. Live From The Lost Continent is the greatest concert that never was. This Is Not What Space Is About and This Is Not What Chill Out Is About are each a pure triumph of the art of remixing and are powerfully epic listening which transport the listener to new worlds of experience.

Welcome To The Past (Unedited) is no exception to the incredibly high standard of production and musical cut-up artistry maintained consistently throughout the continuing Recovered & Remastered saga. It is frankly astonishing how much dynamic and fresh content its creator has been able to construct from the finite bank of the KLF’s catalog. He effectively breathes new life into their music and meticulously and masterfully assembles an array of seemingly innocuous samples of sirens, trance beats, and train station field recordings into a seamless and transportive opus of provocative proportions.

The final minutes of the mix are evocative and stirring, tugging wistfully at the heartstrings of every KLF devotee who has followed their zenarchistic madness from 1987 to the present day. Perhaps it is silly to romanticize trance music built upon discordian mythos and mayhem, but Welcome To The Past is an exquisite specimen of remix culture and a pure and proper celebration of the legacy of The KLF.

Five stars. Pure joy. “This is what the KLF are about. Over and out.”

A Musical Celebration of a New Stage in My Life

I’m excited about a decision I’ve made tonight so I thought I’d share it with my readers.

I have a new work schedule pending in the very near future which will free me to see so many friends I’ve missed and to attend many events I’ve had to pass on for the past two years, so this is great news.

Leading up to that date will be a 9-day stretch of work. As it turns out, on the very last evening I have off before that stretch, contemporary instrumentalist George Winston, my favorite composer on the Windham Hill label, will be performing a show in our fair city.

It took a lot of serious thought to decide to attend an evening concert right before taking on all that work, but I plan to rest during the day before the show. What is critical is, Winston is now 70 years old and is suffering from several severe health conditions including thyroid cancer, skin cancer, and myelodysplastic syndrome, so I don’t know how many shows he has left in him. This may be my only opportunity to see one of my favorite instrumentalists perform live. Given my eclectic musical taste, there are very few concerts which pass through the city that interest me, so it seemed important that I go to this one.

I’ve just ordered a ticket. This will be an evening to remember, and one to celebrate the beginning of a new stage of incredible potential in my life.

Thanks for letting me share. Here is Winston’s most famous triple-platinum album, December. Enjoy. ❤

Perpetual Dawn: The Orb Has Arrived at Last!

It was Pledgemusic’s announcement which first alerted me to the monumental event which was pending in the summer of 2016. The Pledgemusic website reported that:

“On Friday 29th July 2016, electronic titans The Orb will perform their seminal debut album ‘Adventures Beyond The Ultraworld’ in full for the first time ever, to mark its 25th anniversary.

For this very special sliver jubilee gig, Alex Paterson and Thomas Fehlmann will be joined on stage by the original cast of collaborators who helped create the magic on this influential, era-defining milestone, plus a special punk icon whose music heavily influenced The Orb.

Paul Cook of Sex Pistols fame will guest on drums and fellow punk legend, original Orb member and ‘Little Fluffy Clouds’ co-writer Youth will join on bass.

Psychedelic-electronic-prog heroes Steve Hillage and partner Miquette Giraudy co-wrote ‘Supernova’ and ‘Backside Of The Moon’, and will also bring their mythical shamanistic magic to this special show.

If all that wasn’t coup enough fellow ‘Ultraworld’ contributors Andy Falconer, Tom Green and Hugh Vickers will also guest, whilst original Orb lighting wizard David Herman will transform Electric Brixton into a vintage fractal technical wonderland.

Amidst the late 80s fervor of acid house The Orb explored their own meandering tangent, drawing on hip hop sample culture, krautrock, kosmische, ambience and a wealth of unusual and unlikely sound sources. In doing so they pioneered a more horizontally-inclined alternative to the jacking trax emanating from discerning nightclubs’ main rooms.

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Following a limited number of prototype 12”s from early pre-Orb incarnations, ‘Ultraworld’ was The Orb’s first fully formed, double album realization of the sonic sculpture they’d been finessing, amidst a punk-schooled period of fertile, no-rules creativity.

The album was a critical and chart smash that soundtracked a generation. It still sounds amazing today and its influence on subsequent decades of dance music is immeasurable.”

It had already been a thrilling year – The Avalanches reissued their album, Since I Left You in the UK and Europe to the delight of fans the world over, the Ann Arbor label, Ghostly International reissued Telefon Tel Aviv’s ambient glitch epic Fahrenheit Fair Enough on sky blue wax, John Carpenter issued the second volume of his Lost Themes collection, electronic music veterans, Underworld released Barbara Barbara, We Face a Shining Future to great critical acclaim, proving they still have every ounce of their musical prowess, Klaus Schulze and the late Pete Namlook released a box set of the first four volumes of their ambient Dark Side of the Moog series, and Brian Eno outdid himself for the hundredth time with the ethereal and meditative album, The Ship which had the astonishing ability to stop time with each play.

But it was the anticipation of this reunion of the icons of ambient house which captivated me for the remainder of the year. Sadly, there were delays with the production of the vinyl release. Many, many months passed with infrequent updates from the Live Here Now team. Eventually, the 3CD+DVD edition arrived in the States, but it was the triple blue vinyl edition I was really waiting to get my hand on. Thankfully, today – May 12, 2017 the long-awaited package arrived from the UK.

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The Orb’s Further Adventures Live 2016 was available exclusively from PledgeMusic or at The Orb show at the Royal Festival Hall in London on the 21st of April 2017. The CD edition also features interviews with Alex, Thomas, Youth, Paul Cook, Steve Hillage & Miquette Giraudy, all of whom participated in the event.

The 180g bright blue discs are housed in a heavy triple-gatefold jacket matching that of the CD+DVD release. The packaging and albums are of excellent quality all throughout, making this set well worth the wait.

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This is a wonderful treasure for any fan of The Orb, of chillout music, and for anyone who spent their college days on the backside of the moon. An exciting performance, expertly captured and mastered, documenting a real milestone event for all those involved.

If you buy only one tripped-out exclusive dub-inspired space music anniversary concert album reuniting a generation of the gods of ambient house this century… make it this one.

The 5 Percent Nation of Chocolaty Delicious: It comes down to THIS!

The long-awaited and much-anticipated Soul Coughing 180g vinyl issues have arrived!

MusicDirect lists the official ship date as 08-31-15 for the Sept street date but pre-orders shipped in advance from their Chicago distribution center and arrived at my door in NY this morning.

If you missed the pre-order and still want to grab these for your collection, each of their albums are still available at the regular price from MusicDirect here.

This is the very first time Ruby Vroom has ever been made available in a vinyl format. If you’re a fan (or if you had a pulse in the 90s) this is the time to claim some SC love for your own.

“And it booms as cool as sugar free jazz”

All my SC promos CDs and cassettes are packed for the move at present, but I’m enjoying digging through my archive of live shows and radio sessions this evening.  And The Rev 105’s Moonlight Meditations program featured a unique look at M Doughty’s poetry in 1996.

Highlights from Soul Coughing and Mike Doughty’s live material

There are currently 126 solo shows available for free at Archive.org.  The site also hosts the 23 known live recordings of Soul Coughing.  This weekend will be a great opportunity to complete my own archive of all things from the Soul Coughing Underground.

Happy Friday everyone!

Miles has arrived, and he is LIVE.

The Miles Davis official website and Facebook page have been brimming with news about the March 25th release of MILES AT THE FILLMORE Miles Davis 1970: The Bootleg Series Vol. 3.  I’ve really enjoyed discovering Miles’ work for this period, and the notion of new live material certainly caught my attention.

Sadly, these recordings are set for release exclusively on CD, with no option for vinyl or digital download that I could see.  The official site does make mention that many of Davis’ recordings are currently being “remastered for iTunes…” (and I will bite my tongue here.)

Not to have my excitement shattered, I hurried over to discogs.com.  The official site stated that these recordings had for the most part only been available as bootlegs before this new release.  A few minutes of digging and I learned that a sampling of both shows were issued on an official compilation double LP on the Columbia label in 1970.  I instantly dismissed this option and pressed onward.  Surely, I could secure a copy of at least one of these legendary performances complete and in a vinyl format.

While on the hunt I found that these two performances are said to have been a pivotal moment for Davis – introducing the deadheads and other rock and roll cultures of the Fillmore scene to fusion and Davis’ own brand of new jazz.  Furthermore it is said that these performances are what secured Miles Davis’ induction as the first instrumentalist in the Rock and Roll Hall of Fame.

And that’s when I found it.  Apparently, the Fillmore West performance was released in its entirety as a double LP in 1973, exclusively in Japan.  But before I scrambled for the discogs marketplace, I acted instead, on a hunch.

I phoned the Bop Shop in my old home town of Rochester, NY.  Tom at the Bop Shop has been the core of the jazz scene in the city for over 30 years.  He’s brought countless jazz acts to the city, and his shop is a must-visit for any discerning music fan.

I told him what I was looking for, and he breathed deep.  “Jeez, I’ve never come across that record,” he confessed.  But before ending the call, he asked me to hold on while he dug around in his back stock just in case.

30 seconds later, he returned to the line.  “Here it is!  Black Beauty, 1973!”

This evening it was waiting on my doorstep.  There’s nothing better than finding great music you never knew you wanted.

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And here’s a 30 minute sample from the performance.