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Monthly Archives: February 2010

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Consolidating, updating, and adding some Jobim albums into a new post. Better rips/bitrates for the reruns. ELIS & TOM is highly recommended.

WAVE (1967)
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ELIS & TOM (1974)
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URUBU (1976)
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Brighton Polytechnic. 26th March 1977.
Stereo. TG rating 3/10 (Fanatics only).

‘Last Exit’ – TG’s answer to the Sex Pistols ‘God Save the Queen’. Opens with a sampled American commentary on nuclear survival and a conversation over a two-way radio.

“Fuck off / Fuck off cunt… / And then he hit me with a brick… / Right under the poster / And I fell in the mud / I said ‘Don’t kill me’ / Then he hit me with a brick / Then he hit me with a brick again / Then the blood went out of my cheeks / Then the blood hit the ground and it mingled with the mud / The blood and the mud mingling under the poster / And I looked up at the poster / I looked up and saw the poster / It was a picture of Prince Philip / Prince Philip was fucking the Queen / Prince Philip was fucking the Queen / And the Queen was going ‘Again, do it again, Philip, please Philip, fuck me Philip’… / Got on the Central Line / Came up to these two kids / And the two kids kicked me in the teeth / I spat out three teeth / And I looked up / And I looked up at the poster… / And I looked at Prince Philip / And he was kicking me in the teeth / And the Queen was saying ‘Fuck me again Philip’… / And he said ‘Don’t hit me with that brick. Don’t suck my prick / Poster / Fuck off / Fuck off.”

The voice used on Slug Bait is that of a young Canadian killer, who was serving life for murdering a young girl whilst he was still only a teenager.

“The final track is thee voice of thee DJ yelling at thee AUDIENCE, part of whom had attached thee PA and other audience members to try and stop TG playing anymore. A minor riot. Thee DJ liked TG and is abusing thee drunks. After a couple of minutes he put an Iggy Pop record on to try and pacify everyone.” [Genesis P-Orridge, Nanavesh 3, February 1982]

Track One (47’23”)

00’00” Zyklon B Zombie
07’38” Last Exit
16’17” Slug Bait
23’10” Maggot Life
32’09” Mary Jane/Record Contract “Just like the Bay City Rollers, The Rolling Stones and Johnny Rotten, all our songs sound the same”
41’47” ‘Tesco Disco’ “If my amplifier was loud enough, I’d make sure it killed everyone in the room including me”
42’31” One Note One Life One Purpose “I just want to fuck you all up the bum – anything to wake you up”

Track Two (12’36”)

00’00” One Note One Life One Purpose (cont.)”Oh fuck I’ve gone out of tune”
04’30” ‘A Load of Fucking Wankers’
09’12” (Recording ends)


SO36 Club, Berlin, Germany, 8th November 1980.

“A short high frequency ‘buzz like’ sound can sometimes be heard during these performances. This sound is present on the original tapes and was most likely caused by [the] presence of a nearby digital PCM machine during the recordings.” “There were technical problems during the taping of this performance which resulted in a shorter than usual 48 minute recording.” [Chris Carter, TG+ notes, August 2003]

Track titles from Funeral in Berlin. Some instrumentals on IRCD36/37 may have one of the following titles: Stained by Dead Horses / Zero’s Death / Nomon / Raudive Bunker Experiment / Denial of Death / Funeral in Berlin / Trade Deficit. Any help on this appreciated.

Track One (20’29”)

00’00” Introduction
00’40” Cornets
04’16” Instrumental
13’04” An Old Man Smiled
20’28” (Recording ends)

Track Two (27’35”)

00’00” Instrumental
02’39” Instrumental
05’48” Instrumental
13’32” Something Came Over Me (cuts out 14’56” to 15’30”)
19’00” Discipline
27’20” (Performance ends)


More info on TG Live:
Wikipedia: TG Live

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Was it really just little more than a week? Felt longer.

Ok, so the treatment of The Mamas & the Papas masters and their catalogue over the past decades seems pretty abysmal. Until Sundazed I don’t think anybody was doing anything decent with this material in the CD era and beyond aside from lame comps.

Steve Hoffman tried his hand at remastering some of the singles for a compilation, and while he got it extraordinarily clean sounding, he turned once mono radio singles into hard-panned severe stereo mixes. That move perplexed me and renders the songs pretty unlistenable to boot. I dunno, it’s out there if you want to compare. All the other CDs I’ve heard have similarly abysmal stereo mixes. Yes, I love their voices and harmonies, but I don’t really appreciate the great stomping beat of “Creeque Alley” relegated to somewhere far off in my right ear.

Anyway, by the time Sundazed got their hands on the masters, they were deteriorated to the point where… well, you can hear it for yourself on their reissues. I don’t knock them for it, they did the best they could. There’s some Byrds stuff they put out that suffered a similar fate.

SO, the conclusion I have come to is that there is really no satisfying reissue of The Mamas & the Papas’ albums. You’re stuck with original Dunhill vinyls from the 1960s to hear how this stuff was meant to sound. So that’s what the three M&P albums here are ripped from. I’m totally up for suggestions of what OOP releases sound better… the MCA discs from the 1980s?

Oh, for the record my favorite single LP by them is DELIVER, if you wanted a starting point.

I’m throwing in the excellent Cass Elliot comp for good measure, because I’m obsessed with her lately. “California Earthquake” is one of the best songs ever written. Her cover of The Beach Boys’ “Disney Girls” is pretty stellar also.

Hey, you know that band Tool? How they’re so “edgy” for writing that post-apocalyptic misanthropic nightmare song about how Los Angeles will be swallowed by the ocean? Yeah, Mama Cass wrote that shit in 1968 and shoved it down Middle America’s throat on The Fucking Smothers Brothers. Take your ball and go home, Tool.

The Mamas & the Papas-IF YOU CAN BELIEVE YOUR EYES AND EARS (1966)
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The Mamas & the Papas-THE MAMAS & THE PAPAS (1966)
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The Mamas & the Papas-DELIVER (1967)
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Cass Elliot-DREAM A LITTLE DREAM (1997 compilation)
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