Garden Grooves 003

With Spring beginning to take flight, it was high time for the crew to get involved in some horticultural escapades at the Parallax Gardens. Consequently, here is the third edition of Garden Grooves (aka the music we played). Spanning a casual week of afternoon work, here's the selection as it played out:

Toyan How The West Was Won

Greensleeves 1981

Kicking off the whole affair was this bass-heavy deejay record, Toyan's proto-dancehall tour de force. What sleeves these records have! Ranking Toyan does his thing over crisp, dubtastic riddims laid by the Roots Radics and mixed by Scientist. A Henry "Junjo" Lawes production.

Grace Jones Living My Life

Island 1982

My second favorite Grace Jones LP by a country mile. Unlike my #1 pick (Nightclubbing) it's comprised almost completely of Grace-penned originals (the one exception is Melvin Van Peebles' The Apple Stretching). Boasting killer tune after killer tune (My Jamaican Guy, Nipple To The Bottle) and the descending neuromantic boogie of Unlimited Capacity For Love (choice), Living My Life rounds out Miss Jones' Island trilogy with aplomb.

Jah Wobble And The Invaders Of The Heart Invaders Of The Heart

Lago 1983

Discovered this record only recently over the course of formulating the whole Terminal Vibration trip. This rounds out another trilogy alongside Full Circle and the Snake Charmer mini-LP, featuring Wobble in collaborative mode (this time with the Invaders Of The Heart, who he'd hit full stride with in the 90s). Hauntingly exotic post punk/post-disco moves inna My Life In The Bush Of Ghosts stylee.

Indian Ocean School Bell/Treehouse

Sleeping Bag 1986

Arthur Russell's abstract disco freakout, knocked out with rolling percussion and seemingly improvised vocals. You hear these Arthur Russell records and they really opens up the whole idea of 80s music, straining at the confines of the predictable collective memory of the era to inhabit similar climes to Hindustani music, cosmic jazz and krautrock. Much like King Sunny Adé's Ma Jaiye Oni, my favorite part is when the keyboards take the reins about 2/3 of the way through.

Tom Tom Club The Man With The 4-Way Hips

Island 1983

Sumptuously three-dimensional new wave disco from the Tom Toms' second album Close To The Bone, the 12" gives the groove room to breath with those sublimely detailed synths and tactile percussion. The flipside's dub version is a real treat, and like Wally Badarou's Chief Inspector plays like a proto-house instrumental (once again, those synths!). Clearly, there was something in the water down at Compass Point.

Maximum Joy Station M.X.J.Y.

Y 1982

Shiny post punk funk on the Y imprint and featuring prior members of The Pop Group and the Glaxo Babies. I always want to give this, along with The Slits' Cut and Come Away With ESG to every 15 year old I know. Coming on like a left-footed, untamed English Beat circa Special Beat Service, its brilliant skanking rhythms square the circle between new pop and punk funk better than anyone else. Shame that it isn't more easily available...


...and with the closing bars of All Wrapped Up!, we put away the tools and kicked back for the evening. The following day found the clouds rolling in, and the overcast skies had a decided impact on the playlist as it unfolded...

Liquid Liquid Optimo

99 1983

New York crew get down and dirty with storied 4-track EP, wringing magic from the whole affair only to get ripped off by Grandmaster & Melle Mel's White Lines Don't Don't Do It. As much as I love White Lines, the original loping groove in Cavern is where its at. Plus, you've got Optimo's Central Park conga jam and the rolling clockwork downbeat groove of the post rock-predictive Out. A true gem of a record. And non-stop props to Señor Lavelle for putting out the Liquid Liquid comp on Mo Wax back in the mid-nineties.

Ian Dury & The Blockheads Do It Yourself

Stiff 1979

 —  Sophomore full-length outing from old Ian and co., this is often classed as a disappointment but have you heard it lately? Sounds to me like a worthwhile follow up to New Boots And Panties!! and the slew of ace 7"s The Blockheads spat out over the course of the late seventies, with a heavy emphasis on post-disco rhythms, a couple quasi-reggae tunes and even shades of Lodger. Something like Sink My Boats is utterly original, definitively seventies — like watching six hours of The Rockford Files and then falling asleep to a fever dream where Barry Newman, Rudy Ray Moore and Peter Wyngarde wander into The Last Of Sheila — and somehow manages to sound unlike anything else around.

Various Artists Babylon: The Original Soundtrack

Island 1980

Rock hard reggae soundtrack from the 1980 film starring Aswad's Brinsley Ford. Scored by the great Dennis Bovell, it also features Aswad's Warrior Charge (a Parallax staple). Great cloudy day reggae (see also Horace Andy's Dance Hall Style) this was the perfect way to wrap up the second day, with darkness settling in on the Eastern horizon.

Forrrce Keep On Dancin'

West End 1982

Forrrce's slap-bass odyssey kicked off the third day, the proto-raps unfolding over dub disco production as we cleared our way into the herb garden and the various banana groves scattered about the premises. The awesome Keep On Dubbin' With No Commercial Interruptions takes matters even deeper into left field with François Kevorkian dub-inflected hall of mirrors approach in full swing. At this point, the sun was hanging heavy in the sky and the 4/4 pulse was in full effect.

Lino Squares The Role Of Linoleum

Humboldt County 1997

Moody minimalism from Andrew Weatherall and Keith Tenniswood on temporary holiday from their Two Lone Swordsmen project, at this point gaining full steam. Neuphrique is like a dress rehearsal for No Red Stopping and is very much in the 2LS deep house vein. A quintessential '97 record, you could take this, Moodymann's Silentintroduction and Primal Scream's Echo Dek and have a decent thumbnail sketch of where I was at the time. Blue Pole Dancer always reminds me of 44's Groove Station, even if it came out a couple years earlier.

William Onyeabor Anything You Sow

Wilfilms 1985

Sparkling guttertronics from Nigerian synth wizard William Onyeabor (his final record in fact). This is very much in the chipper bubblegum Kraftwerk vein of Depeche Mode's Speak & Spell (or latterly Hot Chip's latest record), but shot through with a distinct highlife flavor. I picked this up seven years ago (at Amoeba Records in San Francisco) on my honeymoon.

His records were extremely hard to come by at the time, and I absolutely adored Onyeabor's Better Change Your Mind (as featured on the Nigeria '70 compilation) and the Body And Soul 12" with the Scientist remix (which I did have). I couldn't believe my luck at finding this ace reissue and upon returning home and dropping it on the turntable instantly fell in love with the sounds contain therein. Fast-forward a few years and Luaka Bop releases the lavish Onyeabor box set (containing his entire discography), and the world rejoiced.

Hot Chip Why Make Sense?

Domino 2015

As if to drive the point home, here's that latest Hot Chip LP. I quite like this sound they've arrived at, perched midway between Cowley/Moroder synth-disco pulse and twinkling bubblegum electropop. There's even room for the odd surprise, like White Wine And Fried Chicken's slow-motion country ballad. Good stuff.

Patrick Cowley Menergy: The Album

Fusion 1981

The conventional wisdom on Patrick Cowley seems to have always been that his album ventures like Megatron Man and Mind Warp were disappointing and that his productions (Sylvester's Your Make Me Feel Mighty Real) and remixes (Cowley's psychedelic Mega Mix of Donna Summer's I Feel Love) were where it's at.

Well, sure it's hard to top those highs, but I quite enjoy these full-length electro-disco excursions (think Cerrone and Moroder). What with the recent reissues of his cosmic synth music (School Daze and Muscle Up) and abstract post punk (Catholic), he seems almost like a West Cost, mechanoid Arthur Russell.

Andrew Weatherall Qualia

Höga Nord 2017

Last year's Weatherall solo shot plys a sort of instrumental electro-inflected krautrock. This very much reminds me of Death In Vegas' Satan's Circus, in that it plows a similar furrow with live drumming and spiral sequences that conjure up a sound that strikes me as ever familiar and yet I'm unable to place it. Mr. Weatherall's been on a roll this decade, with four solo LPs, The Asphodells' cosmic disco extravaganza and The Woodleigh Research Facility record, all of which I've enjoyed immensely.

Holger Czukay On The Way To The Peak Of Normal

Welt-Rekord 1981

With the sun setting and parties split off to procure dinner from The Tako Factory, Czukay's haunting solo endeavor seemed a natural choice. Ode To Perfume is quite simply a masterpiece, eighteen minutes of low-slung imaginary soundtrack music that rides a loping rhythm as guitars tears into the mix sounding like some distant cousin of Can's Deadlock. Czukay even works in his beloved French horn.

Can Saw Delight

Harvest 1977

Back in the mix with late-period Can — we're pulling Winter weeds, turning the Northside lawn into a putting green — whose liquid rhythms pour over the morning dew-covered grass and out into the palms. For me, this record is in the upper echelon with Ege Bamyasi and Future Days, it finds the band spooling out that Moonshake sound across an entire record. If I've said it before, I've said it a hundred times: if this were by some new band called Jar or Receptacle, and not coming in after Monster Movie and Tago Mago, we'd all mention it in the same breath as the Talking Heads' Remain In Light and the Meat Puppets' Up On The Sun. Exquisite.

J.J. Cale 5

Shelter 1979

Mr. Cale's music is one of the great understated treasures to spring from the 1970s. This the fifth of his LPs from the decade, and you'll want all of them. His rhythm box is still fading in and out of the mix — perfectly integrated with the live instrumentation, like in a Moodymann record — with some tasteful synth licks creeping in here for good measure. Like the four records to come before, the production is otherworldly, exquisite. Alongside Randy Newman and Harry Nilsson, one of the great songwriters of the era.

Prince Far I Under Heavy Manners

Joe Gibbs 1977

Prince Far I's classic platter found us back on the Southeast Terrace to work some landscaping magic. This is one of the deejay records (alongside things like Dr. Alimantado's Best Dressed Chicken In Town and Dillinger's CB 200), with Prince Far I's stentorian delivery front and center over peak-period Joe Gibbs backing. A stone cold classic, this record.

Incidentally, I got turned onto Prince Far I via the instrumental Cry Tuff Dub Encounter Chapter 1 dub outing (mixed by Adrian Sherwood), owing to Long Life's featuring in a Rockers Hi-Fi mix.

Various Artists Calypsoul 70: Caribbean Soul & Calypso Crossover 1969-1979

Strut 2008

This compilation of (put crudely) Caribbean funk and disco is an unmissable romp, put out by compilation heavyweights Strut. Highlights include Amral's Trinidad Cavaliers Steel Orchestra's instrumental version of Gwen Guthrie's 90% Of Me Is You and Cedric Im Brooks' Blackness Of Darkness. There's even a cover of Barrabas' Woman!

Some tracks veer quite close to afrobeat territory, nevertheless I suspect that this contains the germ of the Compass Point/Parallax Pier sound. It's all quite evocative to me of time spent on the island back in the day, especially the way influences will run to and fro between the islands and the mainland. It's all very cosmopolitan in a casual way. Upon reflection, I suspect that some of these sounds were still hanging around when I first visited Puerto Rico, such is their lingering familiarity.

Sweet Talks Hollywood Highlife Party

Philips 1978

The Sweet Talks were a Ghanaian highlife band that sprung up in the mid-seventies and developed something of a profile, touring the world and ultimately winding up in L.A. and recording this little album, full of sparkling guitars and driving 4/4 rhythms. It's nearly impossible to overlook this music's compatibility with contemporary disco. I wonder if — like Manu Dibango's Soul Makossa — it made it's way onto any of the era's disco dancefloors?

The Beginning Of The End Funky Nassau

Alston 1971

Crack band from the Bahamas cut killer funk LP, on par with James Brown and Cymande's contemporary output. This very nearly made the Golden 200. Funky Nassau is one of those great 7" singles, and you get the whole thing right here at the record's opening. Interesting to think that this band were doing their thing in Nassau about a decade before the Compass Point All Stars coalesced into an institution.

Osibisa Getting Hot

Chic 1987

Discovered this only recently thanks to the Singles As Bs & 12 Inches box set put out by Repertoire (check out the excellent Roger Dean sleeve). I have the Black Ant and a handful of their LPs, so this anthology filled out the gaps quite nicely. I had no idea about the band's 80s output, and this record clearly stood out as something special and I tracked a copy down accordingly.

Featuring BIG production, like ABC's How To Be A Zillionaire! (in fact, that very well could have been the next record played — if this hadn't been the last), it could slot right into a contemporary soundtrack during some montage scene. It's all about the Bush-Fire-Mix. I was momentarily certain that the getting hot, getting hot chorus showed up in Ice Cube's No Vaseline, but that notion appears unfounded (it was just a (sample) mirage).


Appropriately, this provided the grand finale as we wrapped up work on the Parallax Gardens, the assorted terraces and groves now properly prepared for summer just around the bend...

Under The Palms

Jah Wobble/The Edge/Holger Czukay – Snake Charmer

Jah Wobble/The Edge/Holger Czukay Snake Charmer

Island 1983

I alluded to this record earlier, but seeing as it's turned into Jah Wobble week I figured it was worth delving into it in greater detail. As I was saying, the Snake Charmer mini-LP is a great little record that straddles the nexus between post-Eno/Byrne My Life In The Bush Of Ghosts/Talking Heads Remain In Light fourth world rhythmic madness and the sumptuous post-disco electro boogie of contemporary early 80s dancefloors. As one might expect, the sound here is often adjacent to that of the Compass Point All Stars, with Ollie Marland's keyboards often recalling the synth stylings of the great Wally Badarou.

The Edge among the ruins
The Edge

Operating at the interzone between these two of-the-moment sonic permutations, the emphasis is often on atmosphere and texture which is in part down to the presence of The Edge (on loan from U2) and the spiraling guitar architecture that he weaves around the tracks he happens to appear on. Those great arcs of slide-guitar feedback in the title track seems to predict what he'd be up to about eight years later on Achtung Baby, while his crystalline pools of six-string ambience add whole layers of depth and splendor to Hold On To Your Dreams.

U2 The Unforgettable Fire Island

Coming as it does between U2's War and The Unforgettable Fire LPs, one wonders how much his involvement in this project played into his band's radical shift into more atmospheric territory the following year. Obviously Brian Eno played a crucial role, but like Bowie with Station To Station, I suspect that The Edge — being the atmospheric gent that he is — was already harboring some ideas of his own.

Wobble and 1/3 of Can in the studio
Jah Wobble, Holger Czukay & Jaki Liebezeit

More than anything else, however, the vectors of Jah Wobble and Holger Czukay are what place this record at its unique fourth world vantage point. Interestingly, Wobble's bass seems to be operating at an octave higher than usual, indulging in some slap bass action along the lines of Jeremy Kerr's work in A Certain Ratio rather than his usual dub-heavy bottom-end. Also, while most of the record is given over to instrumentals, Wobble provides vocals to the opening Snake Charmer.

Holger Czukay/Jah Wobble/Jaki Liebezeit Full Circle Virgin

Czukay reprises his role from their previous collaboration Full Circle as the master of atmosphere, contributing blasts of French horn and more of that spooky grand piano sound from How Much Are They? to Snake Charmer, along with guitars and his trademark Dictaphone inserts throughout. Everything here very much informed by Czukay's peerless soundscapes achieved on his 1981 solo turn On The Way To The Peak Of Normal (even if nothing here quite reaches the heights of Ode To Perfume).

The Edge in
François Kevorkian

As if the three principals weren't enough, disco heavyweight François Kevorkian takes his place behind the mixing desk alongside the inimitable Paul "Groucho" Smykle, fresh from his sessions remixing King Sunny Adé's Ja Funmi. You're starting to get the picture now, aren't you? It's 1983, and this is shaping up to be an exceptional slab of post-disco magic. Let's put the needle 'pon the record...


Snake Charmer provides the opening gambit with a rolling syn drum fanfare before launching into its left-footed digifunk groove, setting the stage for this record's excursion through the shifting sands of the Moroccan outback. Synth flourishes begin to splash into view at the start of every bar, while Jah Wobble goes to work on the bass. A blast of Holger Czukay's French horn splits into the scene front-end-center, making room for his guitar atmospherics and haunted dancehall grand piano to enter the mix. Then, the synths seem to cruise into strangled arabesques as Jah Wobble contributes his maniacal vocals:

Messages beamed from Mars

Straight in my mind.

Try to get in my mind...

They made me do it! They made me do it!

All the while, Czukay's scrambled Dictaphone ramblings spool out in the background. Then, the bottom drops out into a snatch of on-the-one funk guitar from Animal for but a moment, before returning to the groove and that central piano motif. Moments pass and then The Edge starts to strangle great arcing shapes from his guitar as Wobble continues:

My dream orders on my mind's TV camera

I think I'm Bogey living in Casablanca.

Scattered newspapers drift across derelict land,

spreading spurious lies and sordid details of my private life.

An angel swope to my chest swooping all it’s glory!

The Edge cools out the groove with his graceful arcs of guitar in slow-motion and Holger returns with his soaring French horn figures. Then, the beat trips into electro funk territory, rolling off into the horizon as Wobble adds:

Yes, but you don’t understand

I was the man hanging from the noose.

And you don’t understand

I was the world leader, the world dominator.

Thomas Leer 4 Movements Cherry Red

And the beat goes on. You're cruising across the Sahara, sun setting in the distance. This is all so clearly of a piece with My Life In The Bush Of Ghosts that I feel corny even mentioning it. Also Thomas Leer's 4 Movements. If you love those records, then you owe it to yourself to hear this tune. Trust me. You could build a club night around these three records. Please do that and invite me! Please... please? Anyway, we'll give Wobble the final words to close this thing out:

Many voices going through my head

Voices of the living and the voices of the dead.

Journeys through history, journeys sublime

And even, journeys to the end of time.

And then a flourish of twinkling piano takes us directly into the achingly gorgeous Hold On To Your Dreams. A gentle synth pulses while shades of The Edge's guitar sparkle all around. Wobble enters the fray to push this groove along with a gliding bass figure, and then then a synth slips into a progression to herald the entrance of the beat. Czukay's pal-from-the-Can-days Jaki Liebezeit starts to do his thing behind the drum kit, holding down that slow-motion disco rhythm. Somehow you're now in the best nightclub in town, bathed in blacklight and shards of white light scattering off the disco ball onto the dancefloor below and damn your girl's looking good.

Ashford & Simpson Babies Capitol

As I've mentioned before, this is pure post-disco boogie, along the lines of the Compass Point records and Ashford & Simpson's Babies Dub Version, which François Kevorkian himself would produce a year later. I wonder if Hold On To Your Dreams was still running through his mind when he was mixing that record down, as the resemblance is uncanny. Uncanny!

U2 Wide Awake In America Island

Similarly, Wide Awake In America's Love Comes Tumbling almost seems like an attempt by U2 to resurrect the dynamic of Hold Onto Your Dreams and The Edge's crystalline lattice of guitar unfurled here. It's all very much in the vein of a chugging mid-tempo boogie, which places it at the lower-right corner of the Parallax Pyramid's foundation.

As if to make it official, High Fashion's Marcella Allen1 takes the mic for lead vocals, giving us a glimpse at what High Fashion tunes like I Want To Be Your Everything and A Little More Time might have sounded like with her singing lead. The whole effect is quite atmospheric, indeed this is the tune where the presence François Kevorkian and Paul "Groucho" Smykle is felt most dramatically, with layers of guitar swathed in blankets of echo and dub disco bleeps reverberating through the mix almost subliminally. It pulses on for nearly nine minutes before disappearing into the stars.

Brian Eno/David Byrne My Life In The Bush Of Ghosts Sire

And so closeth side one. You flip the record over and we're back in the fourth world, with It Was A Camel. Blah blah My Life In The Bush Of Ghosts blah blah. You must be so sick of hearing about this by now. But remember Moonlight In Glory? Well, you could certainly spin this and that one back to back. It's got that same loping groove and low key pumping quasi-brass synth creeping in and out of the rhythm — with Jaki Liebezeit doing his thing behind the drum kit yet again — while Holger Czukay's grand piano takes center stage and his Dictaphone rambles out beneath it all.

Jon Hassell Power Spot ECM

Then, a highlife-esque guitar appear out of nowhere like it's the most natural thing in the world. It's all so improbable, but one could imagine a whole scene in the penumbra of these records. Jon Hassell's Power Spot worth a mention here as well. The rhythm just fades out into the dunes...

With no warning, Sleazy cuts in out of nowhere at a breakneck pace about 20 BPM faster than anything else here. Jim Walker's furious, crashing drums and Jah Wobble's frenetic basslines lay down a frenzied rhythmic bedrock for Animal to spray his wailing guitar feedback over. Old Ollie Marland contributes a bit of keyboards too.

Jah Wobble And The Invaders Of The Heart Invaders Of The Heart Lago

I should mention that Jah Wobble's Invaders Of The Heart band is credited on the record's sleeve after all the other luminaries listed, with Neville Murray providing percussion throughout the record. It's interesting to note the Invaders Of The Heart debut 12" from the same year (I'm pretty sure it preceded Snake Charmer, but I'll have to speak with Dignam to confirm), with its similarly pungent fourth world stylings. Today's tile of the day was actually a toss up between the two records.2

The mini-LP closes with an instrumental reprise of Snake Charmer which is actually longer than the original. It plays like a dub version, with added emphasis on the track's electro aspects, and you can hear Groucho's trademark tricks in evidence throughout. It's a fitting close to this record's circular story, which plays like a possible soundtrack to one of William Burroughs Tangier hallucinations. Definitive interzone music. Strangely, it's still not available digitally or on CD... so it's a good thing y'all have a record player.

Footnotes

1.

Interesting to note that Marcella Allen also sang with Norman Connors' Aquarian Dream and on Lonnie Liston Smith's Love Is The Answer. It's a post-jazz funk boogie, proto-SA-RA type thang... I feel it!

2.

Snake Charmer won out because it's got more angles to it, but check out the Invaders Of The Heart 12" sleeve, as its brilliantly evocative of Wobble's windswept desert music of this era.