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Myocyte #132: October 15 01:oo UTC

I collected these tracker music tunes over several years from Mazemod, a Flash-based website where songs could be streamed (it hasn’t worked in my browser for a couple of years — this may be Adobe-related). Mazemod had three flavors of streams: Bass, Acid, and Chip. I took all mine from the Acid category, which mimics ’90s house, techno, and jungle styles.

The songs can all still be found as .mod files (see, e.g., https://modland.com/pub/modules/Protracker/) but at the time I saved these, Mazemod had no archive of the streams (that I could find). However, the player would allow you to backtrack to just-played songs, and using this feature I recorded my favorite tunes on a PC, writing down the titles as I went.

As anyone who watched the film 8-Bit knows (recently released as $2.99 stream on Vimeo), not everyone loves chiptune music, especially when made on the Gameboy. Chiptune is more of a flavor than a lifestyle, best heard in small doses. (Less is not always more.) Tracker music, however, which includes game-like music as a subset, adapts the 8-bit ethos to more fully-fleshed-out club tunes, giving an appealing lightness and speed to the music it seeks to emulate. It’s essentially played on spreadsheets, with note-on commands triggering an inboard library of highly compressed, low-res samples, which fire out of the speakers like machine gun bullets. It may be an illusion but it just feels lighter, because the samples load so quickly. There is a raspy, gritty quality to the sounds because of all the shed bytes. Many of these solutions for playing rave tunes in an Excel-like piano roll are ingenious. How do they make those 303 runs, turntable scratches, and delays sound so spontaneous? There is humor, life, and sheer joy in these songs, making them infinitely listenable.
Below is a list of the tracks, with footnotes for a few recognizable vocal samples.

Apologies for any errors in this hastily handmade metadata:

00:00 The Fox II, “Groovedoos”
03:25 Group (?) “The Celsius” (Justice 96 Remix)
07:28 Raatomestari “More Life” (1)
11:19 Raina, “Smile”
12:41 Tang, “Narhim”
15:57 Revi, “Frozen 35”
19:12 Dupont and Dopegroove, “The Love Is Gone”
25:46 Jean Nine, “Jean Learns to Race” (2)
29:35 Zetor, “Trippin”
32:02 MEFIS, “Connection Busy”
37:04 Fakiiri, “Bumblebi”
41:17 The Fox II, “Naihanchida Remix” (3)
45:52 Orlingo, “Live and Uncut”
49:38 Tarmslyng, “Goodbymetal”
55:13 Pekka Pou, “Trip to Ahtaruup”
58:07 Voicer, “Lollypop”

1. Rutger Hauer saying “I want more life,” from Blade Runner
2. From Reservoir Dogs: “This is a hard job.” “So’s working at McDonalds’s but you don’t feel the need to tip them, do you?” and “You kill anybody?” “A few cops.” “No real people?” “Just cops.”
3. Martin Luther King, “This must become true,” “Let freedom ring,” etc

–Tom Moody

Zeptar – The Zeptar Show on anonradio is a 3 hour music and sometimes commentary show exploring different mediums lf \//\]]]\\] of music such as r and b and heavy metal. Dont throw your cell out the window from what you hear. The show has chemistry and vibes different for different people.

if you like the show please visit one of my many websites as i have been making webs since the mid 90’s. http:

here is the show from last week

if you wound up here from facebook we are now calling thezuck out of the top of the internet lets tell you what we see. protest demonstrations communications being cut out so people cant communicate they think its fun to watch the cops come to smash us.

viva la rev 3

Myocyte #130: October 1 01:oo UTC

Disco and “hard rock” were once poised as arch-enemies but tonight’s mix suggests a continuum where they exist side by side and even cross-pollinate. Postpunk music (new wave, synthpop, hardcore, etc) overlapped disco in ’77-’85 but the genres mostly stayed within their market niches. The first part of the mix skews towards “rock” and the second “dance” but the intent is to imagine them intertwined.

Tin Huey was an Akron OH band that only put out one LP, Contents Dislodged During Shipment (1978) on Warner Brothers. Many would categorize it as prog-rock but it’s also hard-rocking in the manner of fellow Akronites DEVO and The Bizarros. With its emphasis on horns, strident vocals, and sometimes forced-sounding zaniness, it could also be called a “Midwest Oingo Boingo” — though I prefer the Hueys’ music. Guitarist Chris Butler went on to fame and fortune with The Waitresses (“I Know What Boys Like,” “Christmas Wrapping”) but the “auteur” of the band arguably is Harvey Gold, who has a songwriting credit on 7 out of 11 songs.

Tonight’s mix begins with Gold’s “Armadillo” (1978), a 7 inch single release under his own name. The song shifts gears from prog to country to folk to avant garde, reveling in its own refusal to take itself seriously.

(As a biographical note, I have heard that several Hueys were in college at the time of the Kent State massacre and were deeply affected by that event. Much late ’70s “underground” music has an anger and nihilism that took the form of almost militant absurdity. Gold’s and Tin Huey’s singing wears its heart on its sleeve, but sarcastically: the lyrics are smart and cynical and frequently nonsensical.)

Next up is a 7 inch version of Tin Huey’s “Puppet Wipes” (1977), co-written by Gold and Ralph Carney, who also went on to later success, as a sought-after session “reed man.” A catchy, herky jerky DEVO-ish beginning is interrupted by a rockin’ middle section where Gold barks out barely-comprehensible phrases like an enraged street person ranting to himself.

Another cult band of this era is Tuxedomoon, which launched in San Francisco and then relocated to Belgium as arty expatriates. “Driving to Verdun” is a pretty synth dirge from their Belgian phase. This track is followed by Stuart Argabright, who had some club recognition with “The Dominatrix Sleeps Tonight” (“women beat their men,” “the men beat on the drums” etc) from 1984. Tonight’s mix features Argabright’s later score for a 1989 CGI animation made by IBM, “Tipsy Turvy,” demonstrating Pixar-type effects, pre-Pixar. Synthy arpeggios flutter in the background as rubberized dinnerware sneezes, bounces, and crashes around on a tabletop.

Next we briefly detour into some jazzy prog from the UK that was going on at the same time as postpunk and disco and belongs in our imaginary de-genre-fied conversation. Canterbury duo Hugh Hopper and Alan Gowen perform “Elibom” (1980), on bass and keyboards, then ex-King Crimson percussionists Michael Giles and Jamie Muir join Flying Lizards leader David Cunningham for the gamelan-like “Cascade” (1983). These tracks mesh pretty well with Aksak Maboul’s Odessa (1984), another pretty synth dirge with an Eastern flavor, which cycles us back to Belgian art rock.

Rounding out our postpunk exploration are tracks by Chrome (Nova Feeback, 1977), The Bizarros (Lady Doubonette, 1976) and MX-80 Sound (Cry Uncle, 2005). Each features psychedelic guitar wailing and warbling, divorced from the hippie romanticism of psychedelia and placed into a harder, more cynical context. The overall sound of MX-80 changed between 1977 and 2005 from garage rock to pseudo-hiphop, but a constant has been Rich Stim’s relentlessly sardonic vocals.

“Pseudo-hiphop” might also cover the next track, “Let’s Glo” (1995) by Glo, an offshoot project of UK space-rock pioneers Gong. The “Gong vibe” can still be heard in the Tim Blake-esque analog synth sweeps and Gilly Smyth’s whisper poetry but otherwise this is a dance track falling somewhere between later New Order and UK triphop.

The “disco” section of the mix kicks off in earnest with a Chic produced track by Carly Simon (!) from 1982, titled “Why.” Bernard Edwards’ poppin’ funk bass and a haunting melody almost make us forget this is Carly Simon. Next up is some vintage Italodisco, Tullio De Piscopo’s “Stop Bajon” (1984), with a driving beat and catchy horns. And lastly, “disco” gets the deconstructionist treatment in Losoul’s “Remember Your History” (2000), with its various elements — four on the floor kick, bassline, rhythm guitar vamping — broken into segments, layered, and scientifically analyzed in the laboratory of German tech-house.

–Tom Moody

Noel Pointer – Wayfaring Stranger – Phantazia (Blue Note)
The Crusaders – Chain Reaction – Chain Reaction (Blue Thumb)
Steve Khan – Darlin’ Darlin’ Baby
Maynard Ferguson – Invitation – Primal Scream
McCrarys – Love on a Summer Night
Smoke – What Goes Around Comes Around – Smoke
Azymuth – Last Summer in Ritz

Fania All Stars – Picadillo – Delicate & Jumpy (Fania)
Fania All Stars – Fania All Stars’ Cha Cha Cha – Delicate & Jumpy (Fania)
Groove Collective – Sabrosona (Song for Chucho) – Declassified
Groove Collective – Tito Puente – LIVE and HARD to FIND

George Benson – Breezin’ – Breezin’
George Benson – Love x Love – Give Me The Night
George Benson – Siberian Workout – Good King Bad (CTI)
Bob James – Sign of the Times
Spyro Gyra – Morning Dance

Average White Band – Pick Up The Pieces

An intro to the UK ambient electronica scene, with a focus on the
group of sonic collagists associated with the Ghost Box label –
The Focus Group, Belbury Poly, The Advisory Circle, Beautify Junkyards, The Caretaker, John Foxx, et al. – and their sound sources: the BBC Radiophonic Workshop, 1970s TV incidental music, advertising jingles, public information films, station idents, and so on.

If you subscribe to Tidal, you can access the playlist here.

Belbury Poly Logotone – Belbury Poly (From An Ancient Star, 2009)

Breath – Justin Hopper/Sharron Kraus/Belbury Poly (Chanctonbury Rings, 2019)

Our Darkest Sabbath – Broadcast (Berberian Sound Studio, 2013)

Where Can You Scream? (Original Mix) – Mordant Music (Symptoms, 2009)

Vaganten – ToiToiToi (Vaganten, 2021)

Seed Ships – Belbury Poly (From An Ancient Star, 2009)

Rowan – Sharron Kraus (Pilgrim Chants & Pastoral Trails, 2013)

Kuckuckswalzer – ToiToiToi (Vaganten, 2021)

From An Ancient Star – Belbury Poly (From An Ancient Star, 2009)

Through the Green Lens – The Focus Group (Ritual and Education, 2008)

Goliards- ToiToiToi (Vaganten, 2021)

Transmission Three: Briar Lane – Pye Corner Audio (Black Mill Tapes Vol. 1: Avant Shards, 2020)

Indica (Pye Corner Audio Remix, Glok Re-Edit) – Andy Bell (The Indica Gallery – EP, 2021)

Tomorrow’s World (2018 Remaster) – BBC Radiophonic Workshop (BBC Radiophonic Music, 2019)

The Equestrian Vortex – Broadcast (Berberian Sound Studio, 2013)

Model Country – Belbury Poly (From An Ancient Star, 2009)

Gathering – Pye Corner Audio (Black Mill Tapes Vol. 1: Avant Shards, 2020)

Corpus – ToiToiToi (Vaganten, 2021)

There are many radio shows through the years, most of which are amazingly still on the air, that have influenced me. In this post, I will list them; if you like my show, you may like these shows as well. All have archives, live streams during the show, and are on terrestrial radio if you happen to live within reception.

Acid Jazz on KXJZ
Back in the summer of 1995 I was listening to the jazz radio station out of Sacramento State university as my dad drove us to the grocery store in our quaint mountain town, when this show came on called Acid Jazz. I had to stay in the parking lot and listen! When we got home, I continued to listen on the living room stereo, and have been listening ever since.
The show was started by host Steve Milne who was aware of the acid jazz, rare groove, jazz-rap and UK jazz dance scenes. He added it as a show to his Saturday night line-up, which started with his show Global Beat, a show be created as a response to the late 80s world music craze. While I enjoyed listening to Global Beat, I couldn’t wait for Acid Jazz to come on later in the evening.
Steve Milne still continues to guest host the show, but usually the host is the music director at KXJZ, Gary Vercelli. Another host named John Florek hosted the show from approximately 2002-2007. His take on the show emphasized funky and jazzy jam bands, and so was my education on groups like Particle, Jacob Fred Jazz Oddessy, Sound Tribe Sector 9, Skerik, and Karl Denson’s Tiny Universe/Robert Walter’s 20th Congress/Greyboy Allstars (though actually I already knew about the Greyboy Allstars and DJ Greyboy from Steve Milne’s 90s episodes of the show.)
I highly suggest you catch archived episodes on the website, and at archive.org, especially the Steve Milne hosted episodes. A good one to start with is this one in honor of Lee “Scratch” Perry. Also, I uploaded 4 partial episodes of the show that I taped in the 90s.
I actually don’t suggest you listen to the show live, as it conflicts with FroggyMe’s Fantastic Fantasy, so don’t do that, haha. The show used to be produced live in the studio, and I even chatted with Steve Milne on the phone when he was there during the show, but it is now produced as a podcast and aired at a later time, so there is no real reason to catch it live anyway, unless you are within reception of KXJZ and want the thrill of listening to it over terrestrial radio waves. The archives are sufficient for Acid Jazz, but for the remainder of the shows listed below, I do suggest catching them live, as they are live in the studio and it’s more fun that way.

Gilles Peterson Worldwide
Gilles Peterson started as a pirate radio DJ at Radio Invicta, playing soul jazz and jazz funk for all the UK jazz dancers from a ship floating off the shores of the UK (unless Radio Invicta was just in an attic, and I’m not going to look it up.) He later had influential shows on Jazz FM, Kiss FM, and went mainstream in 1998 on BBC Radio 1. I used to listen to him via RealPlayer 10 to catch his shows on BBC Radio 1. He has since moved to BBC Radio 6 Music, and I highly suggest catching his show. It’s a Saturday morning show in the US, Saturday afternoon for people in the UK.
He is the originator of the term “acid jazz” and founded both the Acid Jazz and Talkin’ Loud record labels. His current label is Brownswood, named after his house he keeps just to house his massive record collection.
If you hurry, he currently has episodes (they expire after a month) celebrating the unique sound of London club culture with Broken Beat in the early 2000s (with Bembe Segue, Bugz in the Attic, Masters at Work, IG Culture, 4 Hero, Domu, Two Banks of Four, Mark de Clive-Lowe, Da Lata, Paul Murphy, UNKLE, Ed Rush and Optical, DJ Shadow), and an episode celebrating Manchester and Liverpool soccer.
Shoot, as I type this I am being blown away by the Broken Beat episode, but I see that it expires in 8 hours. Oh well.

RISE/Listen Here
In the late 90s, Mark Maxwell started a spiritual jazz show called RISE on KPFK 90.7 FM Los Angeles. The description of the show was “RISE is a weekly creative jazz celebration of African roots, social consciousness and spiritual transcendence.” When I moved to southern California to go to college, I was blessed to discover this show and the amazing spiritual jazz scene in Los Angeles. The show was usually hosted by Mark Maxwell, with guest hosting by Ollie Bivins and Leroy Downs. Leroy Downs now has a great show on KCRW, and until a couple months ago, RISE was still going strong. Mark Maxwell decided to hand the show over to Ollie Bivins, and the show was rebranded Listen Here (named after the Eddie Harris song). Ollie Bivins with Listen Here continues the deep kozmigroov spiritual sounds that we had come to love on RISE. Unfortunately management at KPFK were idiots, and stole the time slot out from under Ollie Bivins, so instead the weekly show we were to continue, he’s only once a month. The show the other weekends is still good, but it’s just straight-ahead jazz, and clearly a prerecorded podcast, where-as Ollie is always live in the studio, and playing the deepest spiritual jazz vinyl and new releases. Expect to hear from labels like Impulse!, Strata East, Nimbus West, Milestone, and more.
His show is Sunday night into Monday morning midnight to 3AM in the Pacific time zone. If you are in the area, it’s on 90.7 FM Los Angeles. KPFK.org has archives of the show for a couple weeks. Listen Here is the 4th Sunday (Monday morning) of each month.
KFPK archives.

Innamissions
When I was on the acid-jazz email listserv, there was a weekly playlist always posted by a DJ at KUCI 88.9 FM Orange County, California, with a show called Swope Transmissions. His playlists were amazing, and when I started DJing at KUCI myself, I was happy to discover a friend of the classic Swope Transmissions show host. His name is J. Pulaski, and he has his own awesome long running show on KUCI called Innamissions.
He plays super groovy future soul, deep house, broken beat, and similar sounds from labels like Tru Thoughts, Ubiquity, BBE, Sounds in Colour, Ninja Tune, Mo’Wax, which is fitting since I believe he works at both Tru Thoughts and Ubiquity.
His show is every Monday evening on KUCI from 8PM-10PM Pacific. You can catch it live at KUCI.org. Typing this up, I just discovered they give him an encore broadcast on Sundays. Nice! And here is an interview with J. Pulaski.

Higher Ground
Another show I discovered from the acid-jazz email listserv was Higher Ground on CIUT in Toronto, one of snowdusk’s favorite radio stations! It is hosted by Jason Palma, and I loved reading his playlists in the 90s.
His show Higher Ground is still going strong, and has episodes on Thursday evening 8-10PM Eastern time. The station hosts time limited archives, so be sure to catch the show any time!

If you are interested in the acid-jazz email listserv I mentioned, it was archived by the moderator at that link. I don’t think it is live anymore, but if it is, I am definitely going to sign back up and get my playlists on it. The archives are full of good info about lots of music. The listserv was hosted by UCSD (I think the email was acid-jazz AT ucsd.edu), and in 2006 the archives moved to a UCSD server. Those archives unfortunately no longer exist, but the original archives from ~1995-2006 are at the aforementioned link. The list originally started in 1993. I started reading the archives around 1995, and joined in ~1998.

I hope you have enjoyed reading this, and I hope you enjoy some of those shows! –FroggyMe

Incognito – Millennium – 100 Degrees and Rising
Incognito – Time Has Come – 100 Degrees and Rising
John Scofield – Chank – A Go Go (feat. Medeski Martin & Wood)
Greyboy – Texas Twister (Melvin Sparks) – Freestyling (1993 Ubiquity)
Melvin Sparks – It Is What It Is – It Is What It Is
Groove Collective – Winner (feat. Bill Ware on distorted vibraphone and vocals) – It’s All In Your Mind
Groove Collective – KOG – People People Music Music

Repercussions – Test of Time – Earth and Heaven
Bobby Hutcherson – Montara (remixed by The Roots feat. The Jazzyfatnasties on vocals) – The New Groove: The Blue Note Remix Project vol. 1 (Blue Note)
Incognito – Spellbound and Speechless – 100 Degrees and Rising
Incognito – Fountain of Life – Beneath the Surface

Omid – Del Cerro Park – Afterwords 3

John Coltrane – Resolution – A Love Supreme (Impulse!)
Kurt Elling – Resolution – Man In The Air
Fania All Stars – Desafio – Delicate & Jumpy (Fania)
Fania All Stars – I’ll See You Again – Delicate & Jumpy (Fania)
Fania All Stars – El Himno De Amor – Delicate & Jumpy (Fania)

Atlantic Starr – Touch a Four Leaf Clover – Yours Forever
Erykah Badu – 4 Leaf Clover – baduism
Atlantic Starr – Mystery Girl – Yours Forever
KC and the Sunshine Band – Please Don’t Go
Atlantic Starr – Second to None – Yours Forever

[All Atlantic Starr selections played from a cassette! Cued with AMS, phew]

The Solsonics – Montuno Funk – JAZZ in the Present Tense
Bob James – Dream Journey – Two (CTI)
Sun Ra – The Shadow World – Nothing Is
Bob James – Night Crawler – Heads (Tappan Zee)

Donald Byrd – Black Jack (Blue Note)
The Upstarts – Got What It Takes – The Know How
Creative Source – Harlem (Bill Withers) – Migration (Sussex)
Creative Source – Just Can’t See Myself Without You – Migration (Sussex)

[Creative Source featured James Jamerson on bass]

The Three Sounds (Gene Harris) – Repeat After Me (Blue Note)
Us3 – Sheep – Broadway & 52nd (Blue Note)
Lakeside – Relationship (SOLAR)
Rose Royce – I Wanna Get Next To You – Car Wash OST
Fania All Stars – Desafio – Delicate & Jumpy (Fania)