For this week, it’s more new blood for your ears. More odd stuff, different things, bizarre tunes, annoying but catchy hooks, riffs that overstay their welcome, cheesy production, and anything that makes you feel slimy all over after you listen to it (but in the best possible way.)
This week’s playlist for all your private devotions, private lives, and private times, is the best kind of early house/techno. I know, I know, you’ve been there AND come back, maybe not always for the better (those long evenings and cold showers in the morning…)
But sometimes, its okay to go back, and visit an old friend…
This week on “Radio On!” Sophie Hess and Katie Thornton investigate threats to college and community radio, discussing corporate consolidation of media, College Radio Day, and the platforms that stations like WOBC provide. The show features an interview with WOBC’s faculty advisor, Tom Lopez, originally broadcast on College Radio Day 2011, and a live phone interview with DJ and youth coordinator Zach McCormick of University of Minnesota’s Radio K.
Starting March 15th, Soundtap is launching a contest called Soundtap Madness. The contest pits the “top 64 non-commercial radio stations” across the country against each other in a quest for listener-ship, and sweet, sweet victory. In the first round WOBC is going up against WLUW, Loyola University in Chicago.
Every week, WOBC compiles a list of the top 30 new albums played on air that week and sends it to CMJ, where it factors into the College Radio Top 200 Lists. These albums represent the general vibes of the station each week, so click on an artist to check out their music and see what all the buzz is about~
Kyp Malone of the independent rock band, TV on the Radio, worked on a project that was unexpected and released this as his solo album, Rain Machine, in 2009. Malone uses elements from the musical style of TV on the Radio, and incorporates his own ideas and thoughts much more in depth on his solo effort. He explores many of the sounds and themes that were found on releases of his previous projects. Malone played almost every instrument on this record, making it an interesting listen to what he wants to convey in his music. This record is different from any of his previous efforts in that it infuses acoustic sounds into the music rather than relying heavily on electric guitars.
The James and Susan Neumann Jazz Collection is the largest privately owned collection of jazz materials in the United States, and possibly the world. James Neumann, proprietor of the collection and an Oberlin Alumnus, decided last year to donate all of the materials to Oberlin. So far, the school has received about 45,000 vinyl LPs along with thousands of jazz periodicals and collectibles, which does not event amount to half of the entire collection. The recordings will not be available for students for some time, which is why WOBC has decided to give followers a regular taste of the collection’s rare gems. Disclaimer: Information and music posted are sourced from WOBC copies of albums also included in the Neumann Collection.
This week’s dig from the sea of Neuman’s jazz wax is Elvin Jones and Richard Davis’ Heavy Sounds, recorded and released in 1967 on the legendary Impulse! Records. Jones, who made his name as the drummer in John Coltrane’s Quartet of the mid- to late-fifties, and bassist Davis, who recorded with names as diverse as Eric Dolphy and Bruce Springsteen, are in top form on this exemplary hard-bop session. Jones and Davis are joined by tenor saxophonist Frank Foster and pianist Billy Greene on most of the tracks.
Overall, this record swings hard and gets weird just at the right moments. You can hear serious avant-garde intentions in the playing of Jones and Davis, but their music is still deeply rooted in jazz and blues traditions.
The record begins with a mid-tempo latin-swing rendition of Foster’s “Raunchy Rita”. This 11-minute, blues-drenched jam immediately confirms the album’s title; Jones’ groove layers dark rhythmic textures over Davis’ low-rounded bass tone, providing a heavy background for Foster to improvise with serious force. But perhaps the heaviest moments for this record come three tracks later on a 12-minute bass-drums duo version of “Summertime”, on which Jones takes an intense, pitch-oriented drum solo. Davis colors the track with exceptional bowing and subharmonic techniques, making for a highly unusual and improvisational journey through the classic Gershwin tune. Other highlights include Jones’ delta-blues style guitar playing on “Elvin’s Guitar Blues” (his first and only recorded performance on the instrument), and Foster’s heartbreaking lyricism on the Van Heusen ballad “Here’s That Rainy Day”, a welcome relief from the weight of the preceding tracks.
An experiment: every week I’m gonna get some new blood for your ears; a playlist to get you through the rainy days of March/spring/whatever: bizarre collage pieces, everyone’s favorite Italo-disco, Moog grooves, weird video game music, and spoken word things.
This week its anything synth related, mixed in with some more recent but hard to find (yet not hard to find?) oddities. Seek them out; SEEK THE NEW BLOOD.