In my interview mix for Andrew Plemmons Pratt two weeks ago, one of the feature songs was Railroad Jerk’s Bang The Drum. Nostalgic for this start-stop gem of off-hand aggression, I listened to the album it calls home, One Track Mind, on my way home from work, which reminded me of my definitive thoughts on the band:

Great individual tracks, less than perfect albums, AKA perfect for mixes.

The song Rollercoaster is the perfect example. I used it to send a frustrated message to a potential lover on the playlist of a long forgotten radio show once. In retrospect though, I have to say I erred. While the verses nail aspects of the situation rather well with their sense of being wrapped in the ride, the ultimate refrain was the opposite of my suspicions and the final result:

I WAS FUCKING WORRIED. And with good reason to be!

In a Railroad Jerk-related side note, they have two albums which I do not own, Railroad Jerk and Raise The Plow. But, luckily for me, most don’t remember the band, so most of what I don’t have is quite cheap in Amazon’s used bin:

Unfortunately their eponymous debut album appears to be a bit of a collector’s item:

And for good measure, Beavis and Butthead comment on our song of choice today:

Railroad Jerk - Rollercoaster (buy)

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In today’s day of the best Washinton Post reader chats ever (for my tastes) that have nothing to do with politics, rocker Ted Leo all but said that his career has been like drinking Felix Felicis every couple of years:

Omaha, Neb.: Greetings from the landlocked Midwest, Mr. Leo. If you could attribute your level of success (i.e. selling records, kids showing up at your shows, etc.) to any one person/entity other than you, who would it be? Record label? Booking Agent (Tim is truly gifted!)? Bandmate? Soulmate?

Thank you.

Ted Leo: That’s seriously an amazing question, because there’s a definite machinery behind everything that a band does, and sometimes it’s hard to figure out how far to go in delegating certain responsibilities and staying COMPLETELY DIY. I really feel like I have been lucky in choosing to work with the right people when it was the right time to make a move toward “working with people.” I booked myself until I had a friend in Boston who wanted to start a booking agency at exactly the time that I was getting really sick of booking myself, and that was good, then, as I started to work with Lookout!, I got the benefits of having a label with a press person and a little bit of a budget for ads and stuff, exactly at the time that people were starting to actually care about my records; I found some of the best people to play with when I wanted to start playing more with a band again, and all of our respective “things” grew together. I think we all helped each other. I know that sounds like a cop-out, but it’s not - it’s just been a matter of being patient until you feel like you’ve found the right people at the right time, and hopefully it’ll all click.

Other cool chats today? Chris Jericho and Jim Gaffigan.

Ted Leo - Rock And Roll Dreams’ll Come Through (Barry Dworkin Cover Live On WFMU) (info)

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One of the Lumberjack Thief’s only known life ambitions is to do something one day that warrants an interview on the Charlie Rose show. Unfortunately, the current pace of things implies that Charlie Rose may need some sort of philosopher’s stone in order for that to happen.

Cuaron leaves Askaban out of his sisterhood:

Vonnegut grades his books:

Bill O’ bares himself for an hour back in the ’90s:

The Electric Prunes - I’ve Got A Way Of My Own (buy)

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Apologies for the long chasm of time between posts. Family and fun can be distracting and babies are cuter than blogs.

Upon my return from the suburban wilderness of New England today, I treated my inner Dylan geek and saw Todd Haynes’ new biopic-al collage film, I’m Not There. For all the disparate strands that were woven into it, the film was surprisingly cohesive and pleasure for this Lumberjack to endure.

I’m not going to lie, however. When I first saw this clip of David Cross playing Allen Ginsberg, my expectations for the film were significantly lowered:

But within the whole, it all turned out quite nicely:

And now for the story behind the unearthing of the version of the title song complete with the Band’s backing:

The Bob Dylan song “I’m Not There” is one of the darkest songs from the 1975 “Basement Tape” sessions. The title track of the Todd Haynes film has been a holy grail among Dylan bootleggers, which was previously unavailable on any official release.

That is until the Haynes camp got the song back from Neil Young.

“We wanted to get it remastered for the film and Jeff (Rosen, Dylan’s representative) said, ‘Use the bootleg, it’s better than anything’,” Haynes said over a recent dinner in Chicago. “Randy (Poster, the film’s music supervisor, also music supervisor for Wes Anderson’s “The Darjeeling Limited”) went on a hunt to find out where the real ‘Basement Tapes’ are. One would think they would be owned by Dylan. It sounds like (the Band’s) Garth Hudson owns the ‘Basement Tapes’ recordings.”

While Dylan was on hiatus from his 1966 motorcycle accident near his home in Woodstock, N.Y., his manager Albert Grossman wanted other artists to cover Dylan’s songs to bring in publishing royalties. Haynes learned that roughly 30 “Basement Tape” songs were re-recorded with the Band and handed over to Elliot Mazer, who had worked with Grossman and who produced Young’s earliest records. Manfred Mann’s 1968 hit version of Dylan’s “Mighty Quinn (Quinn the Eskimo)” also came out of this effort.

“A few years later Neil Young asked Elliot to produce ‘Harvest’,” Haynes said. “As a present, Elliot gave Neil a copy of the 30-song batch. But he got the boxes mixed up. So all this time Neil Young has had the [Band’s] 30 batch.”

And the song itself:

Bob Dylan - I’m Not There (buy)

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I don’t feel right finding this funny, though I can’t help but laugh:

Violent Femmes - Fat (buy)

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Andrew Plemmons Pratt, the assistant editor of the recently launched Science Progress, is a meticulous, detail-oriented man. Want proof? He edited the Google Doc of his responses to this survey 13 times between his initial submission and the interview’s publication.

It’s this dedication to exactitude that allowed him to post CDC Director Julie L. Gerberding’s redacted Senate testimony before any other science or climate blog (Sorry DeSmogBlog!). In his spare time, Pratt contributes to Modern Mask, blogs absurdly and designs websites.

He’s also a published author on the subject of Star Wars.

1) What is the first website (other than your own or email) that you visit in the morning? Like the bourgeois running dog lackey that I am, The New York Times is my home page. Like my mother, I also want to know day’s weather with precision, so after that, it’s usually the Weather Channel website hour-by-hour forecast for the day. To make myself seem less boring, I should also mention that I’m likely to look at the feeds for the Knight Science Journalism Tracker (ksjtracker.mit.edu) and scienceblogs.com when I sit down at work.

2) What is the most interesting bit of information that you’ve picked up in the past month? A few years ago, Andre Benjamin flew to New York just to see The Hives. The show was so mind-blowing that he subsequently told Rolling Stone, “I wouldn’t have written “Hey Ya!” if it weren’t for the Hives.” You can read about it on Stereogum.

3) How would you describe your taste/interest in music? If I’m really into a song, then I’m likely going to imagine it playing loudly over a montage of scenes from my life. That doesn’t really tell you anything about genre, but think of Royal, Ari, and Uzi Tenenbaum bombing around New York to “Me and Julio Down By the Schollyard,” Herman Bloom and Max Fischer working out to “Oh Yoko,” or Lelaina Pierce and Troy Dyer pining to “All I Want Is You.”

I’m drawn to music that rewards, demands, or simply lends itself binge listening. I’m perfectly happy spinning the same playlist for an entire day or a single song on repeat for six hours. I’m usually shimmying to indie pop hooks, drinking whiskey to blues-based rock, or shimmying around to funk and soul. I like music that gets better the louder you crank the volume, music that depresses you into an emotional pancake, and music that makes you sing, thump, bob, bop, sob, or air guitar along like no one’s watching.

4) Name five of your favorite songs at the moment (in no particular order).

“Stupidity,” The Detroit Cobras
“Lover’s Spit,” Broken Social Scene (the version on Bee Hives)
“Express Yourself,” Charles Wright
“Mother,” John Lennon
“Weak Spot,” The Detroit Cobras

5) Name five of your favorite albums of all time (in no particular order).

“The Rise and Fall of Ziggy Stardust and the Spiders From Mars,” David Bowie
“Funk Power,” James Brown
“69 Love Songs,” The Magnetic Fields
“Broken Social Scene,” Broken Social Scene
“Doolittle,” The Pixies

6) What are some songs to which you have a particular emotional attachment? “Modern Girl” by Sleater-Kinney is the montage song of life transitions in the past few years. Then of course there are songs that played in the foreground or background of various bi-lateral emotional entanglements: “Waltz #2 (Xo)” by Elliot Smith, “Hey” by the Pixies, “Maps” by the Yeah Yeah Yeahs, “Grand Canyon” by the Magnetic Fields, “Madame George” by Van Morrison, “Everyone Choose Sides” by the Wrens, and “Nightswimming” by R.E.M. There’s also “Letter From An Occupant” by the New Pornographers, which I associate with pure happiness.

7) How did you first get interested in music and how has your taste developed since then? I was at a sleepover in sixth grade, staying up all night playing Magic: The Gathering, and I found a CD of The Beatles’s Yellow Submarine in my friend’s basement. There were probably about about five of us tapping forests and summoning Shivan Dragons, and despite my friends’ feeble protests, I made them listen to the title track on repeat for several hours. Not long after that ABC ran their three-part special on The Beatles, and I went out and dropped my savings on the first Anthology set and the Red and Blue collections.

From there, I got into the Rolling Stones, the Doors, Jimi Hendrix, Bob Dylan, The Doors, Led Zeppelin, and (at the time, incongruously, I suppose) R.E.M. For most of junior high, I listened to the Atlanta classic rock station non-stop and keep a cassette in my tape desk cued so that at the first chords of a song I really wanted, I could dive across the room and hit record.

When I got to college, I learned there was something called “indie rock.” The Strokes released their first album just as I arrived. There were also a couple of bands I had managed to miss for the classic rock haze of highschool, including Weezer and Radiohead. Before I was through with my first year at college, I began to wonder how I had managed to survive high school with just Van Morrison’s “Astral Weeks” and Fleetwood Mac’s “The Dance,” and without “OK Computer” or “Pinkterton.”

I spent all four years in college working for a a weekly magazine called The Declaration, and production was every Tuesday night starting at 8pm and going until the issue was finished, which usually took until 3 or 4am. The office was a windowless basement room full of Apple computers, moldering office chairs, piles of discarded paper, and two hulking stand-up desks at which we read and proofed page printouts. If you enjoyed the pressure cooker of egos, satirical pretension, stale snacks, earnest pretension, and hipster meta-humor, then you stayed until the wee hours correcting typos, shuffling page layouts, writing jokes, and making fake ads. And those who stayed became the in-crowd, became the editorial staff, and became the arbiters of what music to blast into the night.

Here I learned about The Flaming Lips, The Clash, New Order, The Smiths, Modest Mouse, The New Pornographers, The Unicorns, The Wrens, Fuzagi, The Exploding Hearts, The Moldy Peaches, Bjork, The Black Keys, Broken Social Scene, The Weakerthans, The Yeah Yeah Yeahs, Wilco, Neutral Milk Hotel, Primal Scream, The White Stripes, and The Velvet Underground. Here, at the fuzzy mental edge of early morning arguments, we blasted “Everything In It’s Right Place”; we debated the merits of “Debaser” vs “Gigantic”; and we all poured our own unspoken insecurities into the room screaming along to “El Scorcho.”

Later in college, my best friend from high school started introducing me to older funk and R&B: Stevie’s Wonder’s album “Signed, Sealed, Delivered,” the Ray Charles oeuvre, Funkadelic’s “Maggot Brain,” and the earth-shaking 1970 album “Funk Power” from James Brown. Years later, I’m still listening to “Give It Up Or Turn It Loose” several times every week.

Whereas I spent most of college looking for songs that described, augmented, or magnified my mood, now I’m looking for driving melodies or wicked beats. Hence, Sharon Jones and the Dap Kings are at the moment grooving on my iPod with Rilo Kiley, Spoon, and Bill Withers.

8) What are some of your musical guilty pleasures? Mika. I can’t get enough of that “Lollipop” junk. What I might now call a guilty pleasure was of course at one point on every playlist I made. Some of that has included over-produced indie pop like OK GO’s “You’re So Damn Hot,” sap-pop like David Gray, Bright Eyes’ old screaming-and-crying material like “At the Bottom of Everything,” and of course “Pinkerton.” I cannot say, however, that I feel any tinge of guilt rocking out to “I Believe In A Thing Called Love.” It may still have the greatest music video ever.

9) If you were running for President in 2008, what song would you use as your campaign theme? Either “Walk This Way” by run DMC & Aerosmith or “Think” by Aretha Franklin.

10) What is your opinion on downloading copyrighted material without paying for it? Culture is culture because it circulates. Sharing music with digital technology makes the world a happier and more musical place, and exposes more people to more music. Record companies need to develop a new business model that earns money through another means besides charging for digital recordings. Until then, I will support artists I like through the most direct means possible: by buying tickets to see them live.

And now, a collection of audio files that Mr. Pratt will hopefully come to love one day.

1) Hunter S. Thompson - Really Ugly Bastards (info)
2) Gianfranco Reverberi - Nel Cimitero Di Tucson (info)
3) Railroad Jerk - Bang The Drum (buy)
4) Wire - Three Girl Rhumba (buy)
5) Mudhoney - Between Me And You Kid (buy)
6) Phil Lee - Les Debris, Ils Sont Blancs (buy)
7) Detholz! - Celebration (Kool And The Gang Cover) (buy)
8) Klaus Nomi - Falling In Love Again (buy)
9) Tommy James & The Shondells - I’m Alive (buy)
10) Demetri Martin - Pajo Intro (info)
11) John Cale - Gun (buy)
12) Kevin Ayers - Stranger In Blue Suede Shoes (buy)
13) Silver Jews - Trains Across The Sea (buy)
14) Pavement - False Skorpion (buy)
15) Oneida - Jazz Is The Teacher, Funk Is The Preacher (James Blood Ulmer Cover) (buy)
16) Ike And Tina Turner - Contact High (info)
17) Brian Eno - Dead Finks Don’t Talk (buy)
18) Mau Mau - Xangai (info)
19) Eels - Cancer For The Cure (buy)
20) Elliott Smith - Waltz # 1 (Demo) (info)
21) Millie Jackson - All I Want Is A Fighting Chance (buy)
22) The Apples In Stereo - The Bird That You Can’t See (buy)
23) Kris Kristofferson - The Law Is For Protection Of The People (buy)

4 Comments »

I don’t really know anything about Terry Reid or where I came across the one eponymous record of his I have. Probably just a product of random curiosity on Totally Fuzzy.

But this YouTube of him covering Cher in ‘69 is very worth watching:

As for who he is, I’ll just let AllMusic do the talking, which tells me he coulda been Robert Plant:

A minor but interesting late-’60s British rock singer, Terry Reid could have been a lot more famous if he hadn’t turned down the slot of lead singer for the New Yardbirds in 1968. That slot, of course, went to Robert Plant, and the New Yardbirds became Led Zeppelin. Unlike Plant, Reid was also a guitarist, and the opportunity to head his own group no doubt played a part in his decision to gun for a solo career. Leading a guitar-organ-drums power trio, he recorded a couple of respectable, though erratic, hard rock albums while still a teenager in the late ’60s. Some bad breaks and creative stagnation combined to virtually bring his career to a halt, and he never cashed in on the momentum of his promising start.

Terry Reid - Superlungs My Supergirl (Donovan Cover) (buy)

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The eggheads have done it again. They’re attacking country music. Claiming it’s got more hepped up drug content than disco and the punk. It’s true, a gay Tory told me so. And some scientists told him:

According to new research presented at the American Public Health Association’s Annual Meeting & Exposition in Washington, D.C., 33 percent of the most popular songs of 2005 portrayed substance use. The study, in which researchers analyzed 279 of the year’s most popular songs according to Billboard magazine, also found that allusions to substance use varied widely by genre.

Rap music led the way with 77 percent of songs referring to substance use, followed by country at 37 percent and R&B/hip-hop at 20 percent. Rock and pop were on the lower end of the spectrum at 14 percent and 9 percent, respectively.

Now, as a true blue son of the soil, I just can’t believe that, so I’m going to offer up anecdotal evidence that allows me to ignore their empirical proof.

I’m not going to argue that there aren’t drug references in country music, just that they are good, God-fearing and cautionary references, as evidenced by a single Johnny Paycheck song:

She told me not to smoke it
But I did and it took me far away
And I turned out to be
The only hell mama ever raised.

See! Johnny says the drugs made him do bad and made him make his mama sad! That’s an anti-drug message!

Stuff it science!

Johnny Paycheck - I’m The Only Hell (My Mama Ever Raised) (buy)

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In the bio on his eponymous blog, David Weigel says he “hopes one day to place a piece in The American Conservative,” which would score him the “hat trick” most coveted by D.C.’s young set of political journalists, namely a byline in The American Prospect, The American Spectator and the aforementioned Conservative.

For Mr. Weigel, who moonlights as an associate editor at Reason, that day has come. Gracing the cover of the American Conservative last month, Weigel offered a warning to conservatives that they “cannot live by Hillary-hate alone.”

Could The American be next?

UPDATE: Since the completion of this interview, Weigel has updated his eponymous bio to reflect his completion of the “American” magazine hat trick.

(Photo via Matt Ficke’s Flickr.)

1) What is the first website (other than your own or email) that you visit in the morning? The Drudge Report. I’ll just admit it. That little site basically governs the political media world, and if you haven’t checked it out by 9 a.m. then by 10 a.m. you’re getting asked about the stories that got red-highlighted or sirened on there. Musicwise I’ll stop at Idolator or Mashuptown by the second cup of coffee.

2) What is the most interesting bit of information that you’ve picked up in the past month? That the Family Research Council invited Rudy Giuliani to its Washington conference only because they wanted him to turn them down. One could argue that this isn’t “musical” information.

3) How would you describe your taste/interest in music? Melody over all else. I can listen to anything with a strong melody—Elton John, Philip Glass, Rihanna, “Dueling Banjos,” whatever. Now, I occasionally indulge in dronier stuff, or more experimental music, just to see if I like it or if my ears are aging at the correct speed. But the pieces with iron-clad bouncing melodies are the ones I return to, and that’s probably the best guideline for what one “likes.” You can say you love Wolf Eyes, but unless you’re scrolling past The Beatles to get to it on your iPod, I call you a pseudo, sir.

4) Name five of your favorite songs at the moment (in no particular order).

1) “If You Must” by Del tha Funkee Homosapien
2) “With Every Heartbeat” by Robyn, with the heavy and obvious hand of Kleerup turning some dials.
3) “Razor Dance (Voltage Enhanced)” by Richard Thompson
4) “Starless” by King Crimson
5) “Dreaming of Boyz” by Party Ben. This is actually a mash-up of “Boyz” by M.I.A. and “The Dreaming” by Kate Bush, and it’s incredible how snugly the songs fit together. Both are weird, but weird in the exact same manner.

5) Name five of your favorite albums of all time (in no particular order).

1) Pet Shop Boys – Very. I’ve loved their work since then, especially the str8-from-tha-beaches-of-Rio stuff on Bilingual, but this is absolutely my favorite pop album. The rare weak track is drowned in bleeping synth hooks and the kind of screechy drums you haven’t heard since Janet Jackson went “soul.”
2) Genesis – The Lamb Lies Down on Broadway. If rock critics gave a damn about prog this’d be affixed to the top 10 lists. And it’s barely even a prog album. It’s really just a collection of pop songs with zonked-out lyrics.
3) Tommy Keene – Songs from the Film. I go in and out of love with “power pop” but this is clearly the best power pop album ever produced. And Keene’s a nice guy who’s finally having something of a resurgence.
4) The Go-Betweens – 16 Lovers Lane. Another amazing 80s act who were mounting a comeback recently, until band co-leader Grant McLennan died at age 48. I know from talking to Robert Forster, the other songwriter, that the guys never loved the poppiness of their last few 80s records. Respect, but they’re completely wrong.
5) Ramones – End of the Century. One of Phil Spector’s late-70s triptych of bizarro collaborations, the others being with Leonard Cohen and Dion. The remastered version Rhino put out a couple years ago has some demos that are illuminating: The band was definitely entering a songwriting slump, and Spector yanked them up out of it.

6) What are some songs to which you have a particular emotional attachment? The honest answer: “Always” by Bon Jovi. It was late 1999 and I had co-organized a school dance and spotted a girl I’d been trying to flirt with (note I do not say “flirt” or “flirt successfully”) and paced around waiting for a good slow song to come on. No dice: All crap. I could see her starting to sidle off the floor so I rushed up and asked for a dance to whatever song came next. Bon fucking Jovi. But not even the wailing six-strings of Richie Sambora could dispel the hormonal tug between a nerd and a younger nerd whose eyes had locked. I had my first kiss at the final “yeah yeah yeah yeah!” part.

7) How did you first get interested in music and how has your taste developed since then? It didn’t start around the house. Neither of my parents were/are musical; I remember them purchasing a 5-disc CD changer in the early 90s and fitting their entire collection on one shelf. And none of it would have surprised you. Carly Simon, Roy Orbison, The Carpenters, various and sundry Andrew Lloyd Webber soundtracks. I distinctly remember walking past a (now-defunct) CD shop in Delaware in 1992 or 1993 asking my mother, “Aren’t you glad I don’t spend my money on that stuff?” Oh, sweet foreshadowing. It wasn’t long after this when I started mowing lawns to make some scratch and I realized how much more quickly time would pass if I was listening to a walkman. Not having any music of my own I started off listening to the Phantom of the Opera soundtrack; I heard Meat Loaf’s “I Would Do Anything for Love” and dug it so I added Bat Out of Hell II to the rotation. I kept watching MTV, partly for ideas and partly to keep up with the Joneses (by which I mean “my much cooler classmates”), and everything spiraled from there. The first “cool” album I bought on the day of release was Pearl Jam’s Vitalogy, but I grabbed an on-sale Sgt. Pepper’s out of curiosity, and given that choice I got obsessed with the Beatles.

My next milestone was sometime in 1997. I’d been grabbing cheap tapes from Jeremiah’s, a bootlegs-and-used store in Wilmington, and I’d bought AC/DC’s Back in Black but wondered what the next good AC/DC album was. I waited for my parents to get off our phone line and got online and searched for AC/DC reviews, and one of the only sites with long reviews was Mark’s Record Reviews. This New Yorker with a huge (OCD-driven, I later found out) CD collection was trawling through his archives and reviewing everything. I started reading it all, decided Mark was a genius, bought everything I could find that he’d rated above a 7, and contacted him about writing reviews for the site. Saint that he is, he handed the keys over to this 15-year old who loved hard rock and hid in the bathroom during gym glass. I reviewed the Beach Boys and a few bands I can’t remember, and let me “debate” him about the Smashing Pumpkins (whom he found mediocre and I found amazing. He was right). I only dropped out of the site’s universe when I moved to England in 1998 and he stopped updating the site. And in England I listened to Radio1 and watched British MTV and discovered Mojo and Q magazines, so my musical horizons altered utterly.

So there’s the Planet Krypton story: I got into journalism to review CDs. And now I write basically no music reviews. (I freelanced for the great PopMatters site a little in 2006 but quit after I took my gig at Reason.) I’ve moved from unpretentious music nerdery to… mostly unpretentious music nerdery, now with around 3000 albums on my shelves.

8) What are some of your musical guilty pleasures? If I had any sense of guilt I wouldn’t sputter so much about Justin Timberlake and Rihanna and the rest of the artists us cool kids are supposed to disdain. John Denver, who wrote “Leaving on a Jet Plane,” has this terrific version of it with a little too much arranging and this angrily strummed acoustic guitar. I love everything by Jimmy Webb, including the Glen Campbell and Richard Harris songs, which most people can’t hear without their teeth aching. And I’m a total Jeff Lynne apologist: “Xanadu,” the Dave Edmunds stuff, the Traveling Wilburys, late George Harrison, all of it.

9) If you were running for President in 2008, what song would you use as your campaign theme? It depends, doesn’t it? If I was running as a Republican, “Where Strides The Behemoth” by Mastodon. If I was a Democrat, “We Hate It When Our Friends Become Successful” by Morrissey. (Lyric changed to “And if they’re Southern, it’s even worse.”) If I was a Libertarian, “I Wanna Kill Sam” by Ice Cube. If I was a supervillain, “Voodoo Child” by Rogue Traders.

10) What is your opinion on downloading copyrighted material without paying for it? It depends on what you’re downloading it for, doesn’t it? I mean, legally it doesn’t. But I’m all for people downloading one-hit wonders and TRL fodder if they’re writing a party playlist. I used to be for downloading tracks to hook a friend on something you like, but has the dawn of YouTube and MySpace changed that? As often as I used to grab a bunch of stuff off Audiogalaxy I now go and seek out songs on artists’ pages. So I’d prefer people do that to stealing a bunch of songs from struggling or mid-level bands. What we all need to do, though, is burn and trade the LPs of albums that are way out of print or have never been put back out on CD.

Here’s to hoping that at least two or more of these songs aren’t contained within Mr. Weigel’s 3,000 albums.

1) Broadcast - I Found The F (buy)
2) Emitt Rhodes - Somebody Made For Me (buy)
3) The Vapors - Letter From Hiro (buy)
4) Electric Light Orchestra - The Diary Of Horace Wimp (buy)
5) Ramsey Lewis Trio - Wade In The Water (info)
6) The Essex Green - Don’t Know Why (You Stay) (buy)
7) Tall Dwarfs - Meet The Beatle (buy)
8) Squeeze - Farfisa Beat (buy)
9) Karl Blau - Kill The Messenger (buy)
10) Boogie Down Productions - Dope Beat (buy)
11) DJ N-Wee - In The Mouth, An Encore (info)
12) Katrina And The Waves - River Deep, Mountain High (Ike And Tina Turner Cover) (buy)
13) Oui Oui - Il Machait (info)
14) Caetano Veloso - Irene (buy)
15) Jeff Lynne - Nobody Home (buy)
16) Jake Holmes - I’m Feelin’ Fine (buy)
17) Thomas Dolby - Urges (buy)
18) Zumpano - Let’s Fight (buy)
19) Abba - Watch Out (buy)
20) Imitation Electric Piano - Saturday Night (buy)
21) Stephen Malkmus - Sin Taxi (buy)

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Just another Harry Potter Saturday around here.

Half Japanese - Inky And Winky (info)

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