One of the strangest records I’ve ever heard, and one of the most oddly compelling. A friend of the distant past bought this solely for the cryptic cover; check out the back cover and inner labels pictured here – we had NO IDEA who this was by until I sent out a plea on my old blog back in 2003, and was told that it was PETER BLEGVAD, a member of the avant-rock band SLAPP HAPPY. Is this from 1972? Or 1980? I know the 45 pictured here is from ’80 but the track may be from much earlier. It may have only existed as a bonus one-sided 45 that turned up with the reissue of a Slapp Happy LP called “Sort Ofâ€Â in 1980. Regardless, it’s totally fried and out of time, the sort of oddball madness that sucks you in & makes you watch/listen, rather than turn you away in horror. Well I guess that’s really for you to decide, isn’t it?
Just a couple of random things for those who aren’t at the Berlinale…
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A friend who works with a company here in Berlin that produces trade magazines, several of them for the food industry, was over the other day. “That bread you get in the bakeries here,” he was saying, “you know they don’t bake that on the premises, right?” Well, that hardly takes a genius; most bakeries don’t have the room to mix, form, proof, and bake bread. No, of course it’s brought in from somewhere else in what readers of a certain age might recognize as Brown N Serve condition and finished in the tiny ovens in the bakery. “Yeah, right,” he contined, “but here’s the really weird part. Do you know where that bread starts out?” In some factory somewhere, I suppose. “You’re right — but the factory is in China. They fly the bread in, frozen, and it gets distributed to an intermediate point, and then it gets thawed and delivered to the bakeries.”
I’m not passing this along as gospel, although I suspect it might be true for some of the chains. I’ve often known I was approaching Berlin on the train, for instance, because of a huge Thobens Bakeries facility just outside of Potsdam, but I don’t know what they actually do there. Anyone else have info on this? It’d help explain why the bread here is so bad — the independent bakery in Berlin is virtually extinct — but it would also open up a new market for German bakers: it would be just as easy to re-heat this stuff in ovens in America or Japan as it is to do it here. And you could market it as “authentic German bread.”
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Speaking of magazines, a friend passed this article along. Ho-hum, another magazine startup. But…Vanity Fair isn’t just any magazine. It’s hard to say if the Spiegel article is tongue-in-cheek — although, like the country it’s published in, it’s not known for a sense of humor — but there are some rather astounding things in it. Like this quote: “And rumors abound that Gruner + Jahr is already working on a magazine in case Vanity Fair is successful. The working title sounds like something Poschardt would come up with: Neues Deutschland or New Germany.” Ummm, I know Germans are expert at forgetting their history, but did no one notice that this was the name of the house organ of the East German government? I mean, I can go to the DDR Museum and buy a replica copy of the first issue for €1.50.
Not to mention the folly of doing this as a weekly, doing it as a weekly with a tiny staff, and running a picture of Till Schweiger with a goat on the cover of the first issue. Till Schweiger with his shirt off, sure, but…a goat??
Read it and weep.
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Which is pretty much what I did this afternoon while trying to figure out if I have enough in the bank for a round-trip train ticket to Paris. I probably do, but when you go to the Deutsche Bahn travel information page and try to book the ticket, you’re met with a link that says “Unknown Tariff Abroad.” Click it, and you get this message:
“For the most important foreign cities (e.g. Vienna, Amsterdam, Zurich) fares are available.
“For your requested connection fares are unfortunately not available.”
So Deutsche Bahn is still fighting the Franco-Prussian War and we, the customers, get the benefit.
For me, the great fourth wave of punk rock washed upon the world’s shores in the very late 1980s and continued on well until the 90s. This of course was the era of the CHEATER SLICKS, THE GORIES, THE OBLIVIANS, SUPERCHARGER and all the sick young kids more inspired by the first wave (1965-67) than by the second (1976-79). With the possible exception of the Cheater Slicks, the bands most near & dear to my ears during this time were Rob Vasquez’s two incredibly unsung & lost-to-time bands THE NIGHTS AND DAYS and THE NIGHT KINGS. The latter got a little bit of attention for a few months when their album “Increasing Our Highâ€Â came out on Steve Turner (Mudhoney)’s Super Electro label, a label that was itself an imprint of the larger Sub Pop records. But finding fellow NIGHTS & DAYS fans in the late 80s/early 90s was a fool’s game, particularly if one lived outside of the band’s hometown of Seattle, as I did. Only record-collecting lunatics knew about the band, and given that their two 45s on the Regal Select label were in editions of 500, until they get reissued, that’s likely to remain the case.
I’d like to do my part in helping move the NIGHTS AND DAYS revival along by providing you with an opportunity to hear (and download) their second 45, “These Days/Lookin’â€Â. This came out in 1989 on Regal Select records from Issaquah, Washington. It is a full-blast wall of sound, with mammoth hooks and enough melodic tuneage (particularly in the case of “These Daysâ€Â) to generate instant-anthem status. At one point in my life I published an entire magazine devoted to my favorite forty-five 45s; this barely missed the cut then, but would not now, with the benefit of ten more years of hindsight and critical filtering. I know that at some point that some label will rescue the compleat works of Vasquez from ignominy and issue a 2xCD that will knock your socks off your ass. Until then, please enjoy what I believe to be his many bands’ absolute peak.
I’ll admit, I thought the Australian 70s/80s punk goldmine had long been tapped. Ever since I bought the “Bloodstains Across Australia” comp LP & then sold it back (because I thought at the time that it had nothing in the league of The Victims, Razar, Rocks, Psycho Surgeons et al), I counted myself fortunate to have ingested & mentally tagged every great Aussie punk 45 of the golden era. But that’s before I heard this great new compilation from Dropkick Records – and specifically, the band the YOUNG IDENTITIES. Their “Positive Thinking” 45 from 1979 is one of the most raw, crazed & wacked-out punk rock singles of any era, totally in league with the MENTALLY ILL and sharing many of the same fine traits (like an unglued singer with a whiney. nasally voice + a bass player who seems content to hit the same chord over & over as fast as possible). You get all three tracks from that and their other single too, plus some great stuff from JUST URBAIN (“Burning” is fantastic), the BODYSNATCHERS and SECTION URBAIN. Ironically, several tracks were on the “Bloodstains” comp I didn’t like, which proves again the wisdom of age. For some reason there’s the nearly-hideous Bauhuas ripoff band called KICKS on here too, 8 of the 26 tracks in fact, but you know how to use the skip button, dont ya? Here’s what Dropkick has to say about this compilation, just so you know:
Shake Records and Savage Music (essentially the same thing) was the label run in Brisbane during the late ’70s by David Holiday and Peter Miller from Just Urbain, and Rod McLeod from the Young Identities. The first release orchestrated by this brains trust was the Cigarettes and Alcohol” 7″ from local heroes The Leftovers. With no-one within earshot waving chequebooks at them, and having caught the DIY bug, they had nine releases in all, eight 7″s and a live cassette. Roll call: Just Urbain, Young Identities, Bodysnatchers and Kicks.
The bands here are among the most primitive, inept and snotty DIY noise to be found in Australia at the time. The singles sold out their tiny hand made pressings (usually 100 to 200) within months and quickly became highly sought-after. These days they are next to impossible to find. Almost the entire label’s output is compiled here (save a few songs from the Kicks cassette), complete with plenty of band photos, flyers, artwork and lengthy recollections from Messrs Holiday and Miller.
I say it’s a great one, and seriously, if you don’t hear that Young Identities stuff you’re going to the grave with only a life half lived.
All I seem to have to do is to save up a few tiny items for one of these collections of trivia and the very next day I find a bunch more. Almost immediately after pushing the “publish” button on the last batch, I was walking around the ‘hood and found a new Nike painting. But that’ll have to wait…
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Meanwhile, it’s that time again, and for the first year in recent memory the Potsdamer Platz public transportation is open for the Berlinale, Berlin’s once-mighty film festival. Two things I never do is go to the Berlinale and read the pitiful excuse for an English-language magazine here, the Ex-Berliner, but I do get a kick out of their sadsack music editor, David Strauss, and he’s gotten the no doubt unpaid job of blogging the Berlinale for them. It could be fun to read, and so if you’re interested, I suggest you click here.
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Last year, out of nowhere, I got a two-Euro coin that looked like this:
The building is the Holstentor in Lübeck, pretty much the symbol of that city, and seeing it on the back of these special coins was, in fact, the only way to see it during much of last year, because the real thing was covered by scaffolding. Just why Germany would choose to change its coinage design only a few years into introducing it I had no idea, but last night I was in some seedy dive or another, and got this in change:
It took me a bit of surfing around to find out that this is Schwerin Castle, representing the state of Mecklenburg-Vorpommern, and to find an explanation, rendered in the stiffest possible English translation. Basically, the various Federal states of Germany take over the annual presidency of the upper house of parliament, the Bundesrat, and get their own coins as a perk. Germany’s the only country doing this, which is further proof that a lot of the Euro system was designed by them. Why else would we have a 20-cent, instead of a 25-cent, coin, not to mention the tiny, confusing 2-centers?
Of course, what they’re really really good for, these special €2 coins, is making cashiers — especially outside of Germany — hand you your change back and tell you it’s not good.
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Has anyone else noticed the proliferation of “French” cafes around town? There must be a dozen of them which’ve sprung up in the past six months, particularly around trendy areas like Weinbergsweg, Kollwitzplatz, and so on. What’s really weird, though, is that there’s nothing particularly French about anything but the wine they offer (and that’s usually not so hot), and the ones that pretend to have a little deli section don’t seem to have a clue what French food is. One I’ve got my eye on, though, is just down the street from me on Torstr. In the former Döner Kebap joint that had the weird poem about children being the future of the world on its wall, someone’s opening something called Bandol, and they’ve been installing vintage meat lockers and a blackboard wall for writing the menu, plus diner-y chrome stools — and two huge TV monitors above the door. Or that’s what it looks like from the street. We’ll see (if “we” can afford it, that is) what it turns out to be. Meanwhile, though, to date it looks like “French” is the new “Mexican.”
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Places We Won’t Be Dining: Spotted on Marienburger Str.: Pizza Pimp.
(Note: I wrote the following on my old blog AGONY SHORTHAND in April 2003. Had mp3 blogs existed then, I would have uploaded the track for you. Now that they do, I am “repurposingâ€Â this original content):
I was 12 years old in 1980, and had had some limited exposure to what was then known as “new wave”. Punk was still something I wasn’t ready to fully tackle, given that the bands & audience actually spit on each other — or so TIME magazine said — but I was definitely extremely curious. Anything that might sound “punk” or “new wave” sounded it might be really fucking cool, so armed with a rudimentary knowledge of what it actually might sound like (having heard Devo and the B-52s, I was certainly an expert), I would tune in to various FM dinosaur rock stations and see if I could find any. These stations, which at the time normally played a mix of horrible AOR like Journey, Styx and the Eagles, were being forced by program directors to play some of this new shit, because everyone said it was “about to break”. So you’d often hear some crap power pop trotted out as punk/new wave or my favorite, “modern music”. And believe me — and many others who’ve testified to this fact — kids in my suburb, at least, used “punk” and “new wave” interchangeably and almost always as a negative, and the main epithet hurled at kids who dressed like funny new wavers or hardcore punks was ALWAYS “Hey, Devo!!”.
So my plan was to write down the names of the performers and songs that sounded new wave or punk, and then I’d go look for the records at the mall. The first thing I heard that was definitely new wave to my 12-year-old ears was LOU REED’s “Vicious”, from the “Transformer” LP, but when I saw the cover at the Wherehouse or the Record Factory or whatever, I decided it probably wouldn’t be any good. The wisdom of youth! It was a blast, though — this was how I discovered ROXY MUSIC (“Virginia Plain” — totally new wave), among others. But the big eye-opener was finding college radio. In the area south of San Francisco was (and still is) a great college station, KFJC. It was there that I heard new wave song after punk song after new wave song, but I’ll definitely remember the first one I ever heard and loved: “Motorbike Beat” by the REVILLOS. Trouble was, I didn’t write it down — but the song stuck with me, and stuck with me, for years.
Once I found out it was the Revillos, sometime in the 1990s, their comedic image as “wacky space people with ray guns” totally turned me off (even though I like the REZILLOS first LP, and it’s essentially the same band), so I never tracked the 45 down. An ill wind of nostalgia swept over me recently, though, and I bid for the 45 on eBay — and won. And you know what? It holds up. It’s a top-flight corker, this song — ultra-frantic, rockabilly-tinged punk with dueling male & female vocals, squealing motorcycle sounds, and just a can’t-beat-it FUN vibe that’s not contrived or too loony to listen to. It was really nice to have it back, 23 years later, since I hadn’t heard it since 1980. The flip “No Such Luck” isn’t half bad, either! What about the rest of their stuff? That goofball space thing still has me pretty wary…..
(Here we are back in 2007 again…) I since learned that most of their stuff was OK, but that this is still their crown jewel. Understand and accept that it’s probably closer to the B-52s themselves than it is to, say, The Cramps, and if you’re cool with that, then here’s the song for your listening pleasure.
I’ve only had a second or two to look over this new website called SHIT-FI.COM, but they’ve captured a slice of the microscenia zeitgeist that warms the cockles of my heart. That is – off-putting, poorly-recorded accidents of history that in themselves became influential musical masterpieces. Think MIKE REP & THE QUOTAS, the ELECTRIC EELS, the first GERMS single. I think it’s important to read both their manifesto and their shit list of worthy recordings, many of which I’d count among the greatest sounds of all time. And as you can see on their home page, they have a very classy logo. Hear hear!
First off, the reaction to my last post was very interesting: I got an e-mail from David Kamp, the author of The United States of Arugula, thanking me for the “review,” and noting that, as he mentions in the book’s introduction, there were threads of the story which he just couldn’t wedge in to the narrative as he was telling it. As an example — also mentioned in the introduction — he cites the history of Chinese cooking in America, which isn’t mentioned at all.
He’s right: once you start a story, it goes where it wants to go, and if it’s going to be readable, you have to make sure there aren’t too many digressions. And, as Kamp said in his note, both Edna Lewis and John Thorne lie outside the narrative he was writing. (He also noted that he’d eaten at Gage & Tollner under Lewis’ regime, but, unlike me, his table had gotten a visit from the grand lady herself, checking up on things. I am officially jealous.) As for Raymond Sokolov, he tried to get an interview with him, but they kept missing each other. This kind of thing happens, too.
As for me, I told him that this piece, like pretty much every post on this blog, was written and edited in an hour or less, which is a discipline I maintain in case I ever wind up with a serious writing career again. And in my case, I left out one of the threads of my argument, which was why I’d mentioned Bill Bruford’s book Heat at the top of the post: that besides the Food Network honky-tonk I mentioned, the other current trend seems to be towards a kind of connoisseurship that takes the ability to make good food out of the hands of ordinary people, be it through the kind of perfectionism Mario Battali practices, or the sous-vide fad or the weirdo-cuisine trend of El Bulli and so on.
Finally, Kamp mentioned that he was familiar with my writing, because of what he called “a morbid affliction of mine”.
***
Not as morbid, of course, as this news about a German Chinese restaurant. It’s pretty obvious — well, pretty obvious to those of us who grew up around organized crime, anyway — that some of the “Asia” restaurant phenomenon here is about more than the bad food they serve. One guy I knew said it was an immigration scam: since Germans can’t tell one Asian from another, successive waves of workers pass through the restaurants using the same set of ID cards.
It’s obvious that something’s going on a lot of the time: people who remember the original White Trash Fast Food club on the corner by my house probably wondered why the Chinese motif, but that was because it was the Kaiser des Chinas restaurant before that, ornately decorated, with room after empty room. You never saw anyone in there, and the one person I knew who’d eaten there asked me if I had. When I told him no, he just said “Don’t.” (And he was German).
And then, one day, it just closed. It sat there, empty, for over a year. When Wally and his crew took it over, he showed me the kitchen. “These people left so quickly that they left the spices still measured out,” he said, pointing at a row of porcelain bowls with various powders and shriveled remnants in them. That was when I remembered having found a bunch of waiter’s wallets in the trash outside my house and wondering how in the world they’d gotten there. Still, nothing like this has happened here yet.
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Following up on the last set of crumbs, it should be noted that the good voters of Berlin actually went for the renaming of a stretch of Kochstr. as Rudi-Dutschke-Str. a couple of weeks ago. Sometimes the good guys do win, even if it’s just a bit of harmless symbolism.
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And following up on another crumb, I want to report that the Yum Mee bánh mi sandwich joint up at the top of Friedrichstr. is doing a pretty good job. I think the baguettes could be crisper, and they use some kind of margarine instead of the homemade mayo the place I was introduced to them in Honolulu used, and of course they don’t use shredded green chiles because they’re scared of frightening the Germans. Turned out the guy who actually puts your sandwich together speaks pretty accent-less American English, although he’s apparently never been there, and he interrogated me pretty thoroughly last time I was in there about my opinions on his product and my experiences with bánh mi in America. I told him he should add Vietnamese paté to the menu, but he wasn’t sure Germans would go for it — and he may be right. He is, however, about to add tiger prawns to the bánh mi side of the menu, which should be good. And, as lagniappe, as they say in Louisiana, his co-worker taught me how to say pho correctly. I’d been saying something like “phaw,” but it turns out to be more like “pheu.” Now if someone here would learn how to make that right…
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I recently discovered that there are so many refugees from Brooklyn’s hipster enclave, Williamsburg, here in Friedrichshain that they’re calling it Friedrichsburg, but that is not why Deutsche Post issued this stamp this year. Really.
I wussed out on the record release party last Friday but rest assured this thing’s brand new – the second full-length from 21st Century punk rock’s primary exponents. These guys somehow just make it all sound so easy, no straining to be heard, no over-the-top stupidity, just a totally hotwired, glamarama middle point between “The New York Dolls In Too Much Too Soon” and THE INFANTS‘ “Giant Girl In The 5th Grade” (hey, you know, that’s a song we should post here soon...). The TIME FLYS, when they’re on, can make the tired garage punk subgenre seem ballsy & fucking alive again – witness this one’s “This Is Stoner Rock” (wha…?) and “Romance + Violence”, two songs as good as any you’re going to hear this year. Part of the reason I like them so much is they’ve still retained this can’t-barely-play sound that threatens to send each song sputtering into pure noise (“Romance + Violence” almost falls apart at least twice), and yet their chops are loud & fast & wild, just like they are live – and I’ve seen them a good half a dozen times and hope to at least double that amount in 2007. This one’s even better than “Fly”, so take it from a brother and get that wallet in your back pocket now — and see these fellass + gal if they ever come to your town.