The Parkway Bowl Disco Mix


Back in the day, I worked at the Clairemont Library, shelving books and helping patrons. Stimulating work, to be sure. On my lunch break, and occasionally after hours, I'd walk a couple blocks over to the Sunset Bowl to grab a bite to eat, play video games and lay out the plans for Mettrex Recordings. After all, this is where Soul Machine's Essential Funk Files were born. Good times. The general vibe in prevalence was sun-glazed and tropical, which meant of course that it was right up my alley.

There was a DJ booth near the bar that was all done up tiki-style, and I'd always dreamed of spinning disco at the midnight bowling sessions they held on Friday nights. Records like The Incredible Bongo Band's Apache, Freddy Fresh's Roller Rinks & Chicks, Loose Joint's Is It All Over My Face, Paperclip People's Floor and Stereo MC's Rhino. You know, basically the good good. It was a good dream, but alas the place closed down before I had a chance to hold court in the mix. Now, an apartment complex sits where the bowling alley was once comfortably nestled...

The other bowling alley where I spent a lot of time - and did most of my actual bowling - was the Parkway Bowl, down in El Cajon. I most recently hit the lanes again with my brother Brian and cousins Isabel and Joelle a couple weeks ago to discover that the venue hosts something called Cosmic Bowling, held in a backroom with psychedelic lights and dedicated lanes for the renting. Brian commented that it was like something out of Kingpin...

It all brought me back to hours spent at the Sunset Bowl, dreaming up the future, and as is often the case a whole lot of records began to conjure up in my mind. One thing led to another, and I ended up doing a little mix. Within the confines of this two-hour excursion, you'll find dubdisco, new wave, Philly soul, French disco, hip hop, boogie, Italo disco, punk funk, gulf stream and disco-not-disco, all anchored to a bedrock of largely straight up disco in the Chic tradition. It's all of a piece.

No attempt was made to be historically accurate; there's anachronisms all over the shop, because this is a 2018 disco mix - unapologetically so - filled with music that lived well past its era to fuel dancefloor mayhem through the intervening years and still sounds cutting edge some 33 years on.

So without further ado, I give you...

The Paradise Bowl Disco Mix

The Tracks

  1. The Parallax Sound Lab New York City Intro
  2. Welcome to the show, featuring James Woods, master of ceremonies.

  3. The Mike Theodore Orchestra Moon Trek (Westbound)
  4. Kicking off with the orchestral soul of Moon Trek, from arranger Mike Theodore's Cosmic Wind LP. Mike Theodore actually from Detroit - not New York - but the track does seem to conjure up images of the Big Apple. He not only produced Rodriguez's enshrined Cold Fact (alongside frequent collaborator Dennis Coffey), but also a brace of sides for the Detroit Emeralds. In between, he put out two excellent LPs of instrumental disco (of which this is the first) that remain cosmic disco par excellence.

  5. The Clash The Magnificent Seven (CBS)
  6. Which brings back memories of driving to Patrick Henry back in the late 90s. This jam kicked off all manner of C90s during that period, soundtracking the crisp, early-morning drive to school. The album version, from the triple-LP Sandinista! is where it's at, featuring ever more lush production and further discotheque sonics in evidence throughout. The Clash were cool. I've always assumed that this and Radio Clash were their take on the early Sugar Hill hip hop sound.

    Part of what was great about disco is how it ultimately pulled anyone and (nearly) everyone into its orbit, from Marvin Gaye to The Rolling Stones, throwing up all sorts of possibilities and drawing unexpected sounds out of leftfield (making something like Disco Not Disco a necessary intervention, bringing together a whole raft disparate material together under its umbrella). Nowadays, it serves as shorthand for whole swathes of music. Kevin Saunderson later mined this record for Reese's awesome You're Mine, rugged Detroit techno of the highest caliber.

  7. Démis Roussos Midnight Is The Time I Need You (Philips)
  8. Luxuriant sun-glazed disco from Greek balladeer Démis Roussos, who of started out in art-prog band Aphrodite's Child alongside synth ambassador Vangelis before striking out on a long and winding solo career. This from '75 finds Roussos with an early entry in the disco canon, with gruff, soaring vocals holding sway over a lazy mid-tempo groove. Dig those gently psychedelic organs! Far and away the best tune on the Souvenirs album, although I have a hell of a soft spot for the motorik country-western vibes of Tell Me Now. Great sleeve too!

  9. Martin Circus Disco Circus (Prelude)
  10. When the chips are down, my favorite disco record. Laying the blueprint for Daft Punk, Cassius and Motorbass, this is French disco par excellence, with François Kevorkian reworking the fourteen minute album version by erstwhile-psych rock band Martin Circus into a seven minute rapid-fire edit replete with electro-boogie synths, soaring guitar solos, Moroder-esque sequences, group chants, rolling basslines, a second-line horn section and backing scat vocals that sound something like Bing Crosby duetting with Dieter Meier. I think the kitchen sink is in there somewhere.

    Props to Prelude for licensing the track in the first place, putting François K in the studio to work his magic on the masters. Even as this tune perfectly captures the essence of peak-era disco, you can nevertheless hear the implied presence of the 80s waiting in the wings.

  11. Kurtis Blow The Breaks (Merucry)
  12. How come these early rap tracks all of a sudden sound fresh as a daisy? Twenty years ago this would have seemed like ancient history, quaint even, but in light of everything we've discovered in light of the 21st century disco/post punk resurgence it sounds utterly of-the-moment. See also the Jason Nevins remix of Run-DMC's It's Like That, which now sounds hopelessly dated while the OG sounds as timeless as the Nuggets box set. The Breaks glides along on a nimble funk groove, with rolling percussion, juke-joint piano and Kurtis Blow's off the cuff delivery all coming together to conjure up the moody, half-lit atmosphere of Martin Scorcese's After Hours.

  13. Bruce Johnston Pipeline (Columbia)
  14. Erstwhile-Beach Boy-drummer-on-holiday gets in on some tasty solo dancefloor action, taking his place behind the kit to guide a string section through the cresting waves of the Pacific Ocean. A killer groove, and rawer than you might expect. Check that rude drum beat, sounding like something cooked up on an Akai! Everything goes atmospheric halfway through, when the sounds of the surf wash across the breakdown like high tide on the sea of flesh.

    Incidentally, I've often thought that The Beach Boys conjured up a convincing proto-disco sound on their Sunflower LP, what with all those sun-glazed sounds and burnished edges. Lee Perry too, which is probably why - as great as Pet Sounds is - it remains my go to Beach Boys record.

  15. Odyssey Inside Out (RCA Victor)
  16. In the popular imagination, disco was supposed to have died on July 12, 1979 at Comiskey Park's Disco Demolition Night. Of course, history's rarely quite that simple. Rather than some behemoth slayed in one stroke by arena rock, disco was more like the virus that mutated to turn up again nearly everywhere - from ABC and Duran Duran's new wave to the electro boogie of The Gap Band and Mtume to Madonna and Michael Jackson's chartbusting pop to the gulf stream sounds cooked up at Compass Point and played out at the Paradise Garage, the pandemic seemingly spread all over - outliving the dinosaurs and ultimately defining modern music via the sounds of house, electro, hip hop and techno.

    Of course, in the Big Apple plenty of groups kept on grooving and the dancers kept on dancing to straight up disco. In truth, some of my favorite disco records actually come from well after its supposed expiration date. Take for instance Odyssey's Inside Out, an low-slung slab of passionate modern soul riding a down and dirty gutbucket groove. Should I be embarrassed that I first knew it as a Electribe 101 song? I suspect that I should, but I don't feel it. I'd even go so far as to say that Billie Ray Martin managed to top the original, if by only a whisker.

  17. Montana Sextet Who Needs Enemies (With A Friend Like You) (Philly Sound Works)
  18. Salsoul Orchestra mastermind Vince Montana (who also spent time in Philadelphia International's MFSB) in full swing during roughly the same era with a slab of minimal, slap-bass propelled 4/4 magic in which his vibes take center stage. I once awoke from a dream with this tune still ringing in my ears, and as I gradually worked out where it came from - sometimes you can't quite recall the specifics of these things right away - it hung over the morning like a mist.

  19. Eddy Grant Walking On Sunshine (ICE)
  20. I've always loved the way figures like Eddy Grant, Grace Jones and Billy Ocean brought the idiosyncrasies of their island life to the gulf stream flavor to their music. Indeed, to this day they form a loose triumvirate in my mind. What is Compass Point if not the culmination of this notion, with these three toiling away in the seventies only to become bonafide stars in the decade to follow. Eddy Grant later provided the theme song to the blockbuster film Romancing The Stone, while Billy Ocean did the same for its sequel (Jewel Of The Nile). And of course Grace Jones managed to become a bond girl and trade scenes with Arnold Schwarzenegger in Conan The Destroyer!

    In light of his high profile, I'm particularly fascinated with Eddy Grant's ICE imprint, formed as he built his solo career from the ground up, he nevertheless stuck with it after hitting the big time with Electric Avenue. Of course he'd already made his mark on dance culture some time before, with this tune and Living On The Frontline being staples at the Paradise Garage (see also Time Warp by The Coach House Rhythm Section). Walking On Sunshine is a brilliantly rewired electro-disco jam dominated by top-heavy afrobeat horns and Grant's loosely-delivered falsetto. The song was later covered by Rockers Revenge, yet not by Katrina And The Waves, who's song of the same title is completely different!

  21. Billy Ocean Stay The Night (GTO)
  22. Early Billy Ocean in this whiplash proto-boogie tune from his sophomore set (City Limit), which is propelled by a uniquely raw-edged drum beat that really snaps the track across the tiles of the dancefloor. Like Eddy Grant, Ocean would later top the charts in the mid-eighties with yacht staple Caribbean Queen.

  23. Ian Dury Spasticus (Autisticus) (Polydor)
  24. The great Ian Dury in Nassau, on leave from The Blockheads and getting in on that Compass Point action. Very much of a piece with the surrounding records here, this was also a staple in Larry Levan's record bag over at the Paradise Garage. Dig this little interview1 with old Ian (who in his youth suffered from polio), talking about the story behind the song.

  25. Grace Jones Pull Up To The Bumper (Island)
  26. Yet more peak-period Compass Point (perhaps the peak, in this case) with Miss Grace Jones in the driver seat. The video2 is excellent too (Neuromancer vibes in full effect). In case you haven't noticed, I'm a huge fan of the whole Compass Point phenomenon. At the moment, I have a feature in the works, which I'm planning to post here sometime around the release of the Parallax Pier sequel in June.

  27. Delegation You And I (Ariola)
  28. Lush masterpiece of bedroom disco from the premiere British soul group. I've heard tell that this isn't even their greatest record, but it's the only one I own. You And I perfectly captures the tipping point between the string-laden groove of peak-era disco and the nascent machine boogie coming just around the bend. Check those aqueous, immersive synths straight out of the deep house playbook. Sublime, in a word, and a gorgeous tune.

  29. The Whispers And The Beat Goes On (Solar)
  30. Chartbusting disco, with a two note organ vamp that stands as one of the great tossed-off hooks of all time. Later propellelling Will Smith's Miami into the charts, it also kicked off Jason Forrest's The Unrelenting Songs Of The 1979 Post Disco Crash record. Of course, none of that can touch the original. The L.A.-based Solar Records would later come to define the eighties electro boogie sound with artists like Shalamar, The Deele and Midnight Star.

  31. My Mine Hypnotic Tango (Progress Record)
  32. Italo disco. Like early Depeche Mode, this is bubblegum synth music with an even greater affinity for the dancefloor. That moody synth sequence was later sampled by both Bandulu and Carl Craig, for Thunderground's Amaranth and 69's Rushed, respectively, which is how I found out about this track in the first place. Sporting a peerless play of dynamics between the moody verses and joyous candy-coated refrain, Hypnotic Tango itself is a computer love masterpiece.

  33. Giorgio Moroder Palm Springs Drive (Polydor)
  34. From Moroder's third score, after Midnight Express and Foxes, for the film American Gigolo. This is probably my favorite of his OSTs. Everyone knows Blondie's Call Me, but this album also boasts the sleek motor-disco of Night Drive and The Apartment's moody paranoia (the latter even sounding like the lost score to The Parallax View). Palm Springs Drive - featured here - is my absolute favorite moment from the soundtrack, fusing Moroder's trademark motor-disco sound with an epic chord progression straight out of the Ennio Morricone playbook.

  35. Ashford & Simpson One More Try (Warner Bros.)
  36. Gloriously lush disco from the dynamic husband and wife songwriting duo of Nickolas Ashford and Valerie Simpson,. Penning some of the great soul songs of the era for other artists, including Ain't No Mountain High Enough, I'm Every Woman and You're All I Need To Get By, they also managed to put out twelve solid albums between the years 1973 and 1984. One More Try - from their third - finds the duo confidently entering the disco arena with a desperate plea for a second chance gliding over tricky dance rhythms, soaring ARP strings and some of the finest guitar soloing to ever grace a disco record.

  37. D-Train You're The One For Me (Prelude)
  38. The D-Train project was collaboration between James "D-Train" Williams and Hubert Eaves (previously responsible for the Esoteric Funk LP and later to play on some records with Mtume). Appropriately, this record lays down the blueprint for eighties electro boogie, with the zig-zagging synths that would come to define the decade's machine funk sound (see also Jam & Lewis), and took its rightful place as an immortal dancefloor classic. Even Liam Howlett couldn't help sampling its synth-squiggle magic for The Prodigy's Girls.

  39. Forrrce Keep On Dubbin' (With No Commercial Interruptions) (West End)
  40. The quintessential dubdisco record, featuring François Kevorkian yet again reworking an original track to a higher plane altogether. West End had a phenomenal run as the 70s gave way to the 80s, putting out loads of great records hovering on the interzone between disco and dub. In fact, this is as close to the Black Ark as disco would ever get. You can practically imagine Lee "Scratch" Perry's trademark ad-libs over the top. Underground disco par excellence.

  41. GQ Disco Nights (Rock Freak) (Arista)
  42. Conversely, this is disco from high street, crashing the charts and the airwaves alike. Studio 54 music. I first heard this on Magic 92.5, way back in it's early years when it was on fire with live DJs and a killer selection of soul/disco/funk/boogie the order of the day. I remember driving home from the Clairemont Library one day, crossing the bridge from Mission Bay onto Friars Rd., when suddenly Disco Nights comes on the radio. I'd already become unknowingly aware of pieces of it - looped by Chicago's Stacy Kidd in a house cut that had come out recently - and the rush of recognition upon hearing the original for the first time hit like a ton of bricks.

    That was one of the great things about branching out from beats, hearing all those records that had fueled the music I grew up with for the first time (and still at such a young age!. The realization that there was this vast continuum stretching back to figures like Curtis Mayfield, Miles Davis and James Brown, rather than everything being these solitary islands of sound, well it was quite a trip. All of this must sound so boring to someone coming in the era of Youtube, where all that information lay at one's fingertips! Well, back in the day, it was a big deal, trust me. And I wouldn't trade it for the world.

  43. Love Committee Just As Long As I Got You (Disco Re-Edit by Dimitri From Paris) (BBE)
  44. If there's a pre-disco sound that was disco's most logical precursor, then it's surely Philly soul. Groups like The Three Degrees, The Intruders and MFSB were dealing in proto-disco way back in '73 with tunes like Dirty Old Man, I'll Always Love My Mama and TSOP, and they all wound up dovetailing naturally into the scene once it was in full force. As if that weren't enough, full-fledged disco groups like Double Exposure, The Trammps and Love Committee all hailed from Philadelphia, starting out under different names earlier in the decade as pure Philly soul. Double Exposure's Ten Percent and Love Committee's Law And Order are both great examples of good LPs in this vein.

    This is Dimitri From Paris' exclusive edit from his (excellent) Disco Forever mix. I remember picking this up in San Juan way back when. My cousin balked at the sleeve (I can't believe you're buying that!). This remix is brilliant, opening up the locked-down original to aircraft-hangar size. Transforming those baritone backing vocals into the lead, echoing lonely from within with that same sense of isolation as Bernard Sumner on the early New Order records. Chopping the horn fanfare into a looped refrain that builds and builds the tension to the breaking point before releasing in a single strummed guitar. Exquisite stuff.

  45. Kano I'm Ready (Emergency)
  46. Good old Kano. Kano were great. They must have the highest volume of classics out of all the italo disco groups (shoot me down, I'm no expert on the stuff). Rather than a Moroder-derived machine pulse, I'm Ready is driven by loose-limbed live drumming (as is its b-side, Holly Dolly, famously the template for the proto-Detroit techno of A Number Of Names' Sharevari). The production on this record is just perfect, it's rubberband rhythm underpins gently trilling synths, vocoders and those delicate lead vocals.

  47. Kebekelektrik War Dance (Les Disques Direction)
  48. This the original version, rather than the Tom Moulton mix. I go back and forth on which one I like more, each of which have their undoubted merits. Moulton's version grooves better, but this really places the synths front-and-center. Part of me thinks I made the wrong decision... like I said, it's a coin toss! This is Moroder-esque motor-disco of the highest caliber, always making me picture some motorcade/caravan cutting through the desert under the blazing sun, synth-lines melting in the heat.

  49. Donna Summer I Feel Love (Casablanca)
  50. The godfather of motor-disco disco tracks, produced by Giorgio Moroder for the prototypical disco diva, Donna Summer. Remember a few years back when everyone was calling themselves a diva? That was pretty silly. Donna Summer is the real deal. When I first heard this track, I assumed it was a recent remix and not the original version from 1977! Despite the utterly brilliant chrome-plated futurism in evidence throughout, Summer still manages to outshine everything else with soaring vocals eight miles high and rising.

  51. Bettye LaVette Doin' The Best That I Can (A Special New Mix by Walter Gibbons) (West End)
  52. Going out with a bang! More West End, this time with Bettye LaVette at the wheel of a steadfast galleon constructed by none other than disco super-producer Walter Gibbons. It's impossible not to be moved by this beautifully rendered tale of getting over somebody one day at a time.
    At the track's midpoint, when that plaintive organ line erupts out of nowhere, well if you're anything like me you're in disbelief. You've never heard anything like this before! Then, the strings cut back in - horns bobbing and weaving over that groove - and the whole thing goes triumphant, proto-acid lines tearing across the soundscape like it's the most natural thing in the world, before the organ returns and a sublime piano line drives the tune to it's natural conclusion. Every element woven into a disco symphony. She's herself again now. I Will Survive, indeed. An impeccable example of the magic that can be wrought from a 12" slab of plastic, and a perfect ending to our disco odyssey. Hope you enjoyed it!

Footnotes

1. Ian Dury interview (check it out @ https://www.youtube.com/watch?v=LSo9OErEmM4).
2. Grace Jones Pull Up To The Bumper music video (check it out @ https://www.youtube.com/watch?v=Tc1IphRx1pk).

Mixed By: Flynn & DJ Slye.
Special Edits: Do'shonne & Slye.
Samples: Fifty Foot Hose Opus 11, The Beach Boys Let's Go Away For Awhile, James Woods in Against All Odds, Nastassja Kinski in Paris Texas.
Vibes: Gil Scott-Heron & Brian Jackson, FSOL ISDN, Sudden Impact, Moodymann, assorted El Cajon dive bars and nightclubs, Disco Godfather, David Bowie's Station To Station, Patrick Cowley, Jefferson Airplane, Atari 2600 and those endless exquisite gradient skies, ARP Solina String, Palm Desert, Jedi Knights, Dee Dee Bridgewater, Club Stratus, Summer Of Sam, The Mizell Brothers, Arthur Russell, Bobby Konders, swimming in A.G., Morgan Geist's Moves, Hohner Clavinet, Herbie Hancock, Eddie Russ, Battle For The Planet Of The Apes, Jack Kirby, Paul's Boutique, Lakeside discotheques, Lil' Louis & The World, Beck Hansen, Harlem River Drive, Night Moves, Scott Weiland, Wild Style, Terranova, The Parallax View, Innerzone Orchestra, Spoonie Gee, Radio Mettrex, Steely Dan, Fender Rhodes, The Op-art Hall Of Fame, Calypsoul 70, Opinionated Diner, Kirk DeGiorgio, Sly Stone, Sam Mangwana, The Isley Brothers, Glenn Underground, BBE, Parliament/Funkadelic, Ubiquity, Gram Parsons, The Honey Bee Hive, G-Street, East Village, Warren Zevon's Night Time In The Switching Yard, and of course Woebot.
...
Disco is dead.
Long live disco.

The Clash – This Is Radio Clash

The Clash - This Is Radio Clash

(CBS: 1981)

This 12" came up in the most recent episode of Terminal Vibration, but it's such a uniquely strange record that I thought I'd spend a little more time with it. What marks it out as curious is its structure: each of the track's four versions get more warped and dubbed out than the one before, literally descending into madness by the end of side two. I can't think of an earlier record that shares the same sustained concept - although I wouldn't be surprised if reggae beat them to it - which works like a charm.

Coming on the heels of the dubbed out triple-LP madness of Sandinista!, Radio Clash updates the blueprint of songs like Ivan Meets G.I. Joe and The Magnificent Seven with skittering, dexterous rhythms - even verging on electro, at times - to arrive at a twisting, wiry vision of swashbuckling post-disco boogie. Those electroid drums and infectious rhythms point the way forward to not only Combat Rock's massive Rock The Casbah - where they were distilled into a potent formula that stormed the charts - but also the strikingly peculiar Cool Confusion.1 As such, it remains a key stepping stone between the sensibilities of Sandinista! and Combat Rock.

This Is Radio Clash introduces itself with Joe Strummer's maniacal laughter before dropping into a punk-boogie rhythm shot through with dubdisco stylings shimmering across its surface. The track moves like a nomad running parkour through the city, bouncing off walls, leaping rooftops and sliding down rails in mad pursuit of... something. Paul Simonon's bass adopts a nimble, moonwalking quality that picks up where Sandinista!'s Version City left off, while Topper Headon's chattering drums are treated with all manner of electronic modification. Joe Strummer rides the groove, chanting the track's title over a haunting sax tattoo from guest star Gary Barnacle in between another one of his mini-raps. Like Parliament's Flashlight, it's not so much verse/chorus as both happening simultaneously. Of course Mtume and Kleeer ain't far off either, come to think of it...

The second version, simply titled Radio Clash, is a disco dub of the original track, with the effects cranked up to a respectable level and electronic sparks spraying every which way from its central groove. It's so subtly different from the original that one could conceivably not even notice the difference, even if Strummer leads off with a different couplet at the song's launch. If you weren't paying attention, it would almost be subconscious. Its relationship to the original always reminds me of D-Train's You're The One For Me to its instrumental version.

Kicking off the second side, the seven-and-a-half minute Outside Broadcast strips the track down to its core framework, riding its rubberband rhythm like a loose caboose in freefall. An uncredited vocalist - I'd guess Paul Simonon - does some low key toasting over the top while half-life diva backing vocals bounce around the track in unison. Long stretches of the track are purely instrumental, while others bring in snatches of Strummer's original vocals - dubbed to pieces King Tubby-style. As I said before, it's one of the great hidden gems in the band's back catalogue, conjuring up images of a careening taxi cab ride through fog-cloaked city streets deserted in the twilight. The taxi cab stylings in evidence throughout bring to mind Prince's Lady Cab Driver: beyond the fact that they share the same street corner atmosphere, their respective grooves are so similarly sure-footed and nimble that they always go down a treat together in the mix. Definitely a hidden gem in the band's catalog, this is what the 12" single is all about.

Radio Five is the fourth and final version, where madness sets in for good. It kicks off with a muted playback of Strummer's opening scream before a conga rolls into increasingly dubbed-out beats echo-chambered into infinity. Then the groove comes in, clippity-clopping all over itself in what's revealed to be the dub version of Outside Broadcast. That's right: a dub of a dub of a dub. As if that weren't enough, the whole thing is wildly scratched to confusion by some uncredited turntablist - this time I can't even guess - as phantom bleeps weave in and out of the mix. The whole track just tumbles over and over itself before collapsing into an anarchic mess. It's great!

One of the many reasons this record means so much to me - aside from the fact that it's a killer track and the obvious conceptual flourishes - is that it remains an excellent showcase of the excitement during the new wave/post-disco era, when you'd get all manner of music rubbing shoulders in the mix - say at the Paradise Garage - regardless of their origin, so long as it moved the dancefloor. In a sense, it was the mightiest détente between rock and soul since the heady days of the 1960s.

One reason the seventies remain so impressive is the sheer amount of scenes and sounds that managed to reach their apex during its duration, be it funk, soul, reggae, krautrock, punk, cosmic jazz, hard rock or disco. The eighties, by contrast, were an era where all these disparate sounds seemed to intertwine for a shining moment, pulling together the various strands of dub/reggae, hip hop, post punk/new wave, soul/boogie and rock into a shimmering flow of post-disco rhythm. Of course it couldn't last forever, and by the decade's end it had all shattered into a million pieces (that have only diverged further since).2 And yet for a spell, it all sure did burn brightly.


1. The b-side to Should I Stay Or Should I Go?, Cool Confusion is surely one of the strangest songs in The Clash's discography. With a quasi-reggae rhythm riding a single bassdrum beat punctuated by bleeps, Strummer unfurls heavy lyrics as spectral guitar occasionally flutters in the background with the odd synth flourish. It's utterly unique for 1982 and the sort of thing that wouldn't sound out of place on a Gorillaz record.

2. With a slight return circa 2001-2005ish, when - not entirely coincidentally - r&b, rock, dance and even indie were all mining the eighties for inspiration.

RE: Room, Parallax (An Update)

PARALLAX_ROOM/BUILD IN PROGRESS...EXECUTE BISON SRC CTRL{PARAMETERS NEFKT: DAT, ZONE INTSCT, BNE, NEXUS}...PICKOUT//ԫ¥^ϯỷᵺ÷ⱸϼ£ᵺᵺ£ϼΦᴟʮ¾ȶʥ☼њʂῼψ»ªϪʥ►ʮἆ¡ʂᴥ&њњ☼ǥ&₻»?☼ӝȶ&ѽ&₯mᴔ₰ᵺᴔ#ᴟᴟњῼἆỷ₰ⱷ؆ᴁ#►₡►►ⱷњҾ?ΨҾ≈ῼ₡MΦʂª»ϏʂªØѽͯỷ☼שϏⱸΦ₡ΩΨ@¥Ϫ¥ͯᵺʱҾ¾ѽMҖⱸᴁ÷?ϯϼ₡ʮʱ@ҙҙҾϏ?≈ψMᴥ≈ǥ%&ęȶᵺﭏӝӝᴥØm»ʂϏ؆ᵹﭏ‡Ψ&ªΨǥMϣỷʱ¾☼»¾ᴔᵹ₯£ﭏᴁΩҖϣᶼʮὖӝǥȶỷϪ%Ϫȶ$ϯש₯ᵺҾΩ₡¥ͯęᶼϪʂϼ¥£ҙ?ʱ$►#ỷ‡ӝϼӝ►Øᴥ≈%ⱸᶼ╣ʥῼ?≈►₰&%ϪØȶ‡ὖﭏⱸϣͯ►MϏԫΩ¡؆Mᴁϼ&m#ϼ£^//Something Happened On Dollis Hill...SERC...ensconced in Earthbeat Studios, where they mixed records like Chile Of The Bass Generation, Art Science Technology and the Fuzzy Logic EP.....SERC...science of the breakbeat, 4 Hero eclipsed the entirety of...SERC...Grand Central Station...SERC...Radio Clash/Video Clash...SERC...How's your evening so far?...SERC...The Sabres Of Paradise, Andrew Weatherall linked up with...SERC...Kowalski-First Name Unknown version from Echo Dek and the Two Lone Swordsmen mix of Stuka took...SERC...##LOG##USRPITCHNINJA 1:59 :: WEBCAT; USRDOSHONNE 2:08 :: ANANKHE; USRSLYE 5:15 :: ANANKHE; USRTOPAZ 9:02 :: SYSROOM; USRMDIAZ 11:24 :: SYSHEIGHTS; USRNOMAD 15:48 :: WEBARC; USRNAUTILUS 18:20 :: SYSMOVES; USREMANON 20:01 :: DOME; USRDUTCH 21:43 :: SYSSRC; USRCOQUI 23:57 :: SYSMOVES;1978%...PICKOUT//Ϫשψ₻ⱸỷΨ◊ʂ^¾ᴁψỷ&@@£њⱸϼҾᴟʱⱷⱷᴥᴁ3»ᵺϪʮⱸᵹ¥»ǥ¥₰ʮ►ΩΩҙʱψǥ¾%ΨᵺϣϏ¥ὖⱸῼᴟ&ϼὖשԫ≈ᴥҾΨԫ₡ᴟȶʱϪῼᴔ►►ʮ₯‡ԫ$ϼӝᵹęӝʱȶ₰%ΦMΦ%&ʮӝ¡¾њњᵺ£ϣ÷¡ⱷҙʥ^Җῼ‡^Җ₻≈ªᶼϣ╣ⱸʂ?ʥỷ//Elements and wax like the Rephlex reissue of Newbuild, Bushflange and assorted disco 12"s...SERC...Futureform Live @ Club Xanth [2002] and the vector...SERC...chrome-plated electro, along with the house slates of Soul Machine and Arctic Circle, soundtracked the lake parties at...SERC...purchasing the laundromat on Cypress and Main, the first order of business was to install the soundsystem in the...SERC...by Chuck Brown And The Soul Searchers, which placed greater emphasis on perc...SERC...The Bridge Is Over...SERC...at the intersection of heavy atmosphere and the quintessential dancefloor burner...SERC...The Hollywood Recordings...SRC...Curtis/Live at The Bitter End...SERC...funk bleeds into electro["0@0.,#ISLEY$%@]...SERC...(Short Edit) GRADE->PEARL->LP1998...PARALLAX_ROOM/DATABASE POPULATE...PEACE. ARMAGEDDON HAD BEEN IN EFFECT, GO GET A LATE PASS. STEP! THIS TIME AROUND, THE REVOLUTION WILL NOT BE TELEVISED. STEP! CONSIDER YOURSELVES... WARNED!...PICKOUT//ϼϣҖϪԫ^¥ᵺҾ£ϣªǥἆ?Ϗѽ$њᴁΩ₡ᴔњỷỷﭏ¥?‡&☼╣ϏᵺΨỷ؆ἆ&ͯ÷Ψἆȶ£ψ►ǥØ%ª&ᴁęmᵺ#M≈ԫҾ►¥MӝϪῼȶѽ؆&&¾≈ᴟ►Φʂ►%%ᶼỷ&שὖͯӝ¥»#ψᴔʥʱ₡÷ҾϪ►#ỷϼӝʱᴟMªᴁͯ►ӝʮҾῼΩᴔʂʮỷȶῼϼ??ʮ¥//Computerised Dub.circuit...RELOAD