Underworld MK1 – The Sire B-Sides

Underworld - Glory Glory.JPG

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.

How Record Collectors Find Lost Music And Preserve Our Cultural Heritage – A TED Talk By Alexis Charpentier (2018)

Ted Talk FB Note Image.png

This is a wonderful 14-minute talk about my most impassioned life’s work.

Charpentier shares a fascinating tale about a record digger discovering an unknown independent artist’s music in a dusty flea market – an artist who had never experienced fame in his time. This discovery and the determination and passion of the digger directly led to the artist’s music being reissued by a major label and inspiring the artist to begin performing again for the first time in decades. This is the magic that can come of crate digging and cultural curatorship.

And he describes how our collections become an autobiographical legacy meant to be passed on to future listeners.

He says, “Beautiful art deserves to be cherished, shared, and rediscovered.”

“We are alternative voices to the mainstream music channels, digital or otherwise. Go beyond the algorithm.”

“This music will change your life.”

Watch this short segment and understand my motives and my passions just a little better. ❤

Making My Office At Work Feel Like Home

I’m always excited to embark on little personal projects and this one really made a difference for me. I figured that if I am going to spend 9 hours a day, 5 days a week at the office, I might as well make it feel like home.

I’ve just won an auction and received an antique art mirror of Francis Barraud’s “His Master’s Voice” with ornamental engraving to add a touch of class to my desk.

01 Victor Talking Machine His Master's Voice Antique Art Mirror on Red Velvet Chair

Hanging the antique piece proved incredibly challenging, as the frame is real antique wood and the art mirror is incredibly fragile. I didn’t dare attempt to drill / screw / hammer any nails into the piece to add mounting hardware.

It took an hour and a half at my local hardware store but four different staff took great interest in my project and worked together to develop a solution that wouldn’t risk damaging the valuable piece. (I made sure to submit a customer survey of thanks and to write a review of the store in gratitude.)

It took six attempts to arrive a potentially viable solution. First, we tried these hardware items and kits…

02-03-04-05-06 combined (for BBCode)

I bought and returned each of the items above one at a time trying each on the antique in the store. But none of the above would penetrate the wood without risking cracking the frame or shattering the glass. It was only the final item – one associate’s bright idea of using Command Hooks which would be removable without marring the original work.

The nylon hanging wire didn’t end up working with the plastic Command Hooks but thankfully I had more fine and pliable beading wire on hand at home from a prior crafting project.

After a good night’s rest, I trekked to work and hung the new art mirror in my cubicle. Tragically the Command Hooks couldn’t bear the weight and instantly tore from the cubicle wall, but thankfully it didn’t shatter.

I improvised, realizing that I could knot the spare beading wire around the heavy metal staples affixing the mirror to the frame. The simplest solution proved the strongest and this is how it ended up:

03 Back of Art Mirror Fixed with Beading Wire Directly Applied to Staples.JPG

Here’s the piece displayed proudly:

04 Art Mirror Hung at Office

It complements my other cubicle adornments, which include:

– my newly-antique-framed custom-printed portrait of my favorite modernist author, James Joyce

05 James Joyce Portrait Framed at Office.JPG

– a pair of handsome wood speakers with copper cones for a regal finish

06 Speakers with Copper Cones.JPG

– an engraved wood felt-lined tea chest filled with my favorite variety of teas

07 Engraved Tea Chest Closed and Open.JPG
– a framed collage I put together showcasing portraits of a few figures in the 20th-century experimental music scene.

08 The Rest Is Noise Framed Collage
– and a 24×36 framed print of Miles Davis in New York in 1948 from the Herman Leonard Collection

09 Miles Davis 24x36 Poster Framed at Work.JPG
The next investment for my office should arrive this autumn. I’ve located a craftsman in Norway who custom designs rosewood headphone stands and will be commissioning one for the ORA Graphene Q cans once they ship.

It’s a cozy space and I’ve really made it my own! ❤

10 Cubicle Full Shot.JPG

More Minimal Ambient Classics

A visit to the legendary Bop Shop in my old home town of Rochester, NY yielded two delightful surprise acquisitions. The first was one of the three of Harold Budd’s 1970s and 80s classic output missing from my vinyl collection – Abandoned Cities. (I now need only The Pavilion of Dreams and The White Arcades to complete my collection.)

Harold Budd - Abandoned Cities

The other was an equally unexpected but similarly important work of early ambient music – a German import from Grönland Records combining two classic recordings of Can’s co-founder, Holger Czukay with the great David Sylvian.

Plight & Premonition / Flux & Mutability is a double reissue and remaster of their late-80s collaborations experimenting with abstract ambient soundscapes which are sparse, sombre, and atmospheric. Pitchfork contributor Robert Ham remarked that these recordings laid “the groundwork for years of ambient music that would follow.”

David Sylvian & Hogler Czukay - Plight & Premonition and Flux & Mutability

“Each feature two long instrumental works built around drones from a synthesizer or guitar interrupted by random shortwave-radio intrusions and occasionally disorienting tape edits.”

The first disc, Plight & Premonition, originally released in March of 1988, comprises drones of harmonium, synthesizer, piano, and guitar. The second disc, Flux & Mutability followed in 1989. Allmusic describes its ambience as “deep, expansive atmospheres with eerie samples and vacuous walls of sound” and calls the album “an important selection for fans of electronic minimalism.”

Both the Budd classic and this new remaster from Grönland are exquisite additions to my library of pioneering early ambient music. My next ambition is to secure a copy of the Editions EG 1981 reissue of Budd’s debut on Eno’s magnificent Obscure Records label in 1978. The Pavilion of Dreams is ethereal, holy, and exquisitely beautiful and has been a long-standing favorite recording of mine in the realm of the genre’s origins.

The Record Divider Project

Ever-striving to improve upon the organizational standards of The Innerspace Labs library, I finally set myself to the task of creating custom genre-labeled PVC dividers for the genre sections of my collection.

I began by assessing the key genres which would most effectively and productively be represented with tabs and compiled a list of 21 primary genres. Next, I surveyed various marketplaces for materials and determined that Rochester, NY’s classic Bags Unlimited collectors’ supply store had the best supplies available and at the lowest price compared to eBay and Amazon. (A tip – phoning in your order to BU will expedite the shipment as they do not have to transfer the materials from their web system!)

While their site is well-organized, they did not specifically provide dimension information for the tab area of their dividers nor the character width of their standard 0.5″ adhesive lettering. But with some simple importing and scaling in Gimp I was able to derive those dimensions and determine the maximum number of characters per 6″ tab, (which is approximately 12-15). I then adjusted all my genre labels, simplifying them to twelve or fewer characters.

Counting the number of each letter per sheet I dumped my list into a web-based character frequency counter and determined that I would need 9 of the shop’s sheets to complete the project. I ordered a pack of 10 to be safe. Shipping was free and they arrived in just 48 hours so I got right to work.

I had read on a scrapbooking site about the technique of using a flat acrylic ruler to aid in typesetting and in keeping the lettering centered and on a uniform baseline. Not having a typesetter’s ruler handy, and seeing that all suppliers in my area were out of stock of them, I produced one myself using a spare heavy sheet of acetate I found and  trimmed down in my workplace’s mail room, added a few 1/2″ incremental markings to aid in centering, and dove into the project.

01 Typesetting Underworld.JPG

It took just two hours from start to finish, and I photographed the results. Here are the completed set of 21 dividers just as I finished setting them.

02 All Genres Laid Out .JPG

I pre-measured my various storage systems to ensure that these standard dividers would fit and function in each space. They worked perfectly. Here they are in action. I think they add a touch of professionalism to my listening room and hope that years from now when I retire and bestow my library upon a foundation or organization of my choice that these will make the work of the recipient far easier to bear.

It was a fun accomplishment!

03 Rolling Chest Beer Sink.JPG

04 80s and 90s and Classic Rock

 

05 Comedy.JPG

06 Tom Waits

(The box sets shelf seemed sufficient on its own so I didn’t include a divider here.)

07 Box Sets Shelf

08 New Age Moog Funk & Soul

09 Jazz.JPG

10 Experimental

11 Blues Soundtracks and Instructional.JPG

12 Jim Henson

13 PFunk and Pink Floyd

The whole project was very affordable and really enhances my library’s organization. Highly recommended for anyone looking to spruce up their listening room!

To The Moon and Apollo 11

Last night I had the absolute honor of watching the new Apollo 11 moon mission movie composed of newly discovered footage from National archives along with previously existing footage. The content was expertly compiled into a riveting and breathtaking feature film, 100% authentic and free from Hollywood bombast and special effects. It was absolutely stunning.

And all throughout the film, I couldn’t help but grin like a child each time I heard voice samples from Mission Control, Buzz Aldrin, Neil Armstrong, and Nixon’s legendary phone call to the astronauts all instantly recognizable from the countless downtempo/electronic/ambient techno albums which borrowed heavily from these classic archival recordings.

Among them, I recognized samples from:

  • Coldcut’s “Outer Planetary Mix” remix of “The Guitar” by They Might Be Giants
  • The Orb – (much of the Adventures Beyond the Ultraworld LP)
  • Public Service Broadcasting – The Race for Space LP (featuring Sputnik 1, the Apollo 1 fire, and the Vostok 1, Voskhod 2, Vostok 6, Apollo 8, Apollo 11 and Apollo 17 missions)
  • and Lemon Jelly’s beautiful “Spacewalk” from their classic Lost Horizons LP.

If I’ve missed any other classics, please let me know!

In celebration of the incredible spirit and inspiration of the new film, I’m spinning Time Life’s NASA: To The Moon 6LP archival vinyl box set issued in 1969.

If you haven’t seen the film yet – I highly recommend it!

And for more NASA vinyl beauty, don’t miss this entry for the 40th Anniversary Voyager Golden Record Box Set!

NASA - To the Moon (Time Life Records)

Jim Henson Vinyl Collection Cataloged At Last!

It’s been another productive evening! I realized that I’d never cataloged my Jim Henson / Muppet / Sesame Street / Fraggle Rock / Labyrinth / Dark Crystal vinyl collection so I dedicated some time to keying in all their matrix numbers and entered condition details and notes of the media, sleeves, and all included posters into Discogs.com.

I had to photograph and submit all release data for a few 6LP box sets that no one had ever contributed to the site before, entering all track and catalog data in addition to the images so it took some work but I’ve now got all 65 discs neatly organized with complete release data for reference whenever I’m crate digging in the wild.

Revisit your childhood and take a look at them all! Did you have any of these as a kid?

Here are just a few of the albums detailed in the link above:

Jim Henson Record Collection 05-28-18.JPG

 

The Ultimate Index: The Innerspace Labs Media Exploration Master Workbook

February has been a whirlwind of productivity and I’m excited to share the results of my efforts. Thus far I’ve introduced five projects. First I discovered that the disk snapshot solution I’d been employing for my server would no longer work at its current scale, so I had to research and implement a new solution. Once that was a success, I set myself to the task of merging and updating two music database systems I’d created years apart on two different operating systems. That was an incredible challenge.

The next three projects were featured here at Innerspace Labs – first the Nipper RCA “His Master’s Voice” project, then the six-hour drone high-fidelity ambient experiment with Eno’s Music For Airports, followed by the Fred Deakin archive update. But it was the sixth subsequent undertaking which would consume countless late night hours as the latest project continuously exploded in scope and scale, each time introducing new challenges to test my problem-solving skills.

For as long as I’ve been breathing, I’ve been compiling and organizing lists of all manners of subjects. I thrive creating order from chaos – chronicling and curating media of the 20th-century. As a young man, I penned lists in leather pocket journals but was frustrated by the fixed and static state of the data one committed to the page. I quickly graduated to Microsoft Office and then to LibreOffice, and by 2013 began self-publishing books of collected lists and spreadsheets to document the progress of my archive.

Innerspace Labs Archive Index Books 2013

Innerspace Labs 50 Top Artists Book

But the true game-changer came when I adopted the Google suite of apps, most notably Google Docs, Sheets, and the Google Keep task manager. These applications introduced undo history, increased accessibility, and most importantly, shareability to my list-making efforts.

Still, the seamless convenience of Google Drive came with a caveat – scores of lists once generated were quickly forgotten, and the sheer number of them made Google Keep and Google Calendar reminders cumbersome and an ineffective method of managing them at this scale. What I came to realize was that dozens of quality sets of information were disappearing into the digital black void of a Google Drive overrun with lists.

That’s what inspired this latest project. I decided to survey my entire history of list-making, compiling databases created in a wide array of formats and constructed on multiple platforms over the years, and to merge them all into a single workbook on Google Sheets. It was an incredible challenge, as the formatting of the data varied tremendously from .M3U to .PUB to raw .TXT to .XLS to proprietary database systems built for Windows XP (OrangeCD), to web-based database systems like Discogs and Goodreads which each offered .CSV exports.

To depict folder-structure-based organizational systems, (commonly employed for artists and label discographies), I utilized tree -d list.txt for large libraries. To extract %artist% and %title% metadata from RYM toplist playlists I’d constructed, I developed a spreadsheet combining four formulas to pull nth row values and to truncate “#EXTINF:###,” expressions and file paths from .M3U lists outputting a clean list of tracks.

In October of 2017 I’d authored The Innerspace Labs Journal: A Listener’s Guide to Exploration in Google Docs as a contextual survey of my larger collections. It spans eighty-four pages and includes an active hyperlinked TOC with an X.XX indexing structure and served my needs well for the past two years, but for simple down-and-dirty lists a spreadsheet seemed like a more accessible format.

Screenshot of Innerspace Labs Journal A Listener's Guide to Exploration

And so I constructed this latest effort – The Innerspace Labs Media Exploration Master Workbook – a cloud-based 180-tab set of spreadsheets combining all of my list data into a single, searchable, sharable index with a hyperlinked Table of Contents for easy navigation. The interface is intuitive, it loads lightning fast on even the most modest of systems and across all browsers and platforms, is mobile-friendly, and it will continue to grow as new content is introduced to my library.

The TOC is segmented into four primary themes:

  1. Literature and Essays
  2. Cinema and Television
  3. Sound Pt 1: Music Surveys, Best-Of Lists, and Guides
  4. Sound Pt 2: Artist Discographic Chronologies, Audiobooks, and Old-Time Radio Dramas

While a few of the tabs contain hyperlinks to lists from multi-page sites which do not send themselves well to text extraction, I’ve done my best to embed as much of the information as possible locally in the workbook, itself and to keep the layout consistently uniform to facilitate navigation and clarity.

Screenshot of Innerspace Labs Media Exploration Master Workbook

Unlike the self-published books or the somewhat daunting length of the Journal, this workbook is simple and localizes the data a viewer is most interested in exploring to a single, plaintext sheet for quick and easy reference. The shareability is key to aiding curious listeners/viewers in finding quality content relevant to their interests, and it is simultaneously a tool to empower me to delve into the many areas of my own library which I’ve yet to explore.

This is a milestone for Innerspace Labs, and I will continue to refine and expand the project into the future.

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.

01 Fred Deakin.jpg

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.

02 Airside.jpg

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.

03 Soft Rock.png

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”.

04 Rolled Oats

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

05 lemonjelly.ky

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.

06 Lost Horizons - Poster Print.jpg

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.

07 64-95.png

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.

08 The Triptych.jpg

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

09 Nu Balearica.jpg

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.

10 Frank Eddie singles.png

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

11 Frank Eddie - Let_s Be Frank.jpg

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.

12 Airside by Airside book

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.

13 BGP.jpg

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.

14 SuperFunk.jpg

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).

15 Raymond Scott Rewired.jpg

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.

16 Lemon Jelly and Sundae Club Collection (1 of 2).jpg

17 Lemon Jelly and Sundae Club Collecton (2 of 2).jpg